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The Ethos of "Life": digital writing and the temporal animation of space
When we strip the lexical band-aid ‘embodiment’ off the more than 350 year-old wound inflicted by the Cartesian split of mind and body, we find animation, the foundational dimension of the living. Everything living is animated. Flowers turn toward the sun; pill bugs curl into spheres; lambs rise on untried legs, finding their way into patterned coordinations. The phenomenon of movement testifies to animation as the foundational dimension of the living.
We propose that the importance of movement in the distribution of space and time is one of the things digital media works make palpable. While western aesthetics – consonant with its spatialised images of subjects and objects – has traditionally paid more attention to spatial form, this is being challenged by new forms of mobility made possible by digital media. These provide both the opportunity for immersion in mediated and programmed/programmable environments, but also the opportunity to move through existing and technologically augmented environments in different ways, using different surfaces and forms of literary inscription.
Stig Andreassen - 25.09.2013 - 15:05
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"Make Me Think": Composing the Narrative Interface
"Make Me Think": Composing the Narrative Interface
Stig Andreassen - 25.09.2013 - 15:10
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A Site for Collaborative Reading of E-Lit
As scholars experiment with collaborative, multimodal approaches to analyzing electronic literature, the tools, methods, and practices of such collaboration become increasingly an issue. How do we share, edit, archive, and publish arguments that address and evolve across multiple types of data, platforms, and disciplines? How can the approaches (data visualization, code analysis, textual explication, bibliographic history, etc.) be shared in ways that other scholars can engage not just with the final interpretations but also with the processes that lead to them? Recent publications such as 10 PRINT CHR$ (205.5 + RND (1)); : GOTO 10, represent the value of such collaborative efforts in combining media archaeology, platform studies, software studies, and Critical Code Studies. Our own work in collaboratively close reading William Poundstone’s “Project for Tachistoscope: [Bottomless Pit],” which we presented at ELO 2010 (held at Brown University) and are now developing as a book for Iowa UP, has prompted us to reflexively consider how the processes of our own collaboration might prove generative to other scholars.
Stig Andreassen - 25.09.2013 - 15:20
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Digital Humanties in Praxis: Introducing the Brazilian Electronic Reseach Collection
The Digital Humanities are in. The trendy scholarly practice for the tech-savvy literati, the DH has generated manifestos, grievances, enthusiasm, grammatical controversy (plural or singular concord?), and conferences. Said to possess both a “dark side” and a utopian core, it is humanities plus media. Humanities in media – but have the humanities ever existed outside a medium of inscription?
Stig Andreassen - 26.09.2013 - 12:45
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A Network Analysis of Dissertations About Electronic Literature
More than 60 dissertations in the field of electronic literature have been documented in the ELMCIP Electronic Literature Knowledge Base, including tags, abstracts and in most cases links to full texts of the dissertations.
Stig Andreassen - 26.09.2013 - 12:54
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Locating Literary Heritage in Paratexts: An Analysis of Peritexts in Electronic Literature
Twenty-six years after its original publication in French, I examine and propose to revisit a traditional literary theory bound to the book-as-object for the realm of literature in programmable media: paratext theory as envisioned by French narratologist Gérard Genette (translated into English by Jane E. Levin, 1997). To Genette, paratext is that which accompanies a text. He differentiates and distinguishes paratexts according to location of appearance and the sender of paratextual information. Two concepts are relavant: peri- and epitext. Genette speaks and identifies peritexts as those elements of the book dictated by a publisher devoted to the cover, typesetting, format etc. and epitexts which exist outside a book in the form of notes and interviews. Both elements merge into what Genette calls paratext theory, all of which carry out a functionality. Among others, Genette envisions paratexts to fulfill a “literary function“ which serve for guiding a readers reading; a claim under critical exploration in this presentation. Investigating the theme of this conference, I question how paratext theory may help to locate the literary in electronic literature.
Patricia Tomaszek - 30.09.2013 - 14:39
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Tierra de Extracción: How Hypermedia Novels could enhance Literary Assessment
Howard Gardner's theory of Multiple Intelligences suggests that there are at least eight different types of intelligence. Due to genetic variation and personal experiences, no two people have the same combination of intelligences. These do not only signal the way we interpret and cope with the world around us but the way we react to it. It is no coincidence that Reader Oriented Theories focus on the role of the reader in processing and interpreting text and not solely on textual perception. As readers and students of literature, the act of interpreting is key to understanding; but limited by outdated methodologies of assessment the opportunity to demonstrate what has been learned is practically bound to their linguistic intelligence. With the change of medium, from paper to screen, literature has undergone a kind of art and media hybridization that far from being something new and original recovers and allows the coexistence of multiple means of storytelling that extend the concept of reading, understanding and expression.
Scott Rettberg - 04.10.2013 - 11:02
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Reading the Drones: Working Towards a Critical Tradition of Interactive Poetry Generation
Computer-generated poetry is now almost sixty years old, stretching from the work of Christopher Strachey, Jackson Mac Low and Theo Lutz in the 1950s to the wealth of interactive poetry generators freely available online today. According to Antonio Roque, this history comprises four distinct (but overlapping) ‘traditions’: the Poetic; the Oulipo; the Programming; and the Research. But despite the inherent ‘literariness’ of the enterprise, one tradition is conspicuous by its absence: the ‘Critical’. It is the object of this paper to rectify this omission, proposing a mode of critical engagement that might allow interactive poetry generators to be naturalised as objects of textual study according to the protocols of literary criticism. It seeks to achieve this by means of a comparative analysis between what might be construed as the first interactive poetry generator – Tristan Tzara’s ‘How to Make a Dadaist Poem’ – and one of the most recent (and most powerful) – Chris Westbury’s JanusNode.
Kriss-Andre Jacobsen - 04.10.2013 - 11:14
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Community Repository of Writers on Writing
More than ever, our cultural institutions are in process. A precarious state that necessitates an ouroboros of approach: we compose even as we are composed. Composing with technology only yields up further process as our predominant cultural artifact. How must we determine its literary value? We must learn to unmake. We must interrogate process through the lens of process. By examining how our cultural artifacts are composed, we may further reveal their stakes. The following presents a beginning survey and comparative analysis of how different writers have composed with/through/among technology to produce cultural artifacts. This study is by no means exhaustive; however, even among few volunteers, there already are interesting trends and divergences.
Fredrik Sten - 04.10.2013 - 11:23
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Beyond Binaries: Continuity and Change in Literary Experimentation in Response to Print and Digital Technologies.
While many critics have compared the current digital age in communications media with the print revolution that began in the 15th century, these discussions have focused primarily on the differences, as opposed to the similarities between the two moments in history (Bolter, Landow, Hayles). As an author and critic involved in exploring new approaches to digital fiction, I, too, am keenly aware of the distinct differences between the age of print and the current digital age. Nevertheless, I have also been struck by many similar concerns in the specific types of literary experimentation taking place in response to new authoring and publishing technologies today with those undertaken in the past in response to print technology. In this paper, I consider specific instances of experimentation that arose in response to print technology in works of fiction published in the eighteenth century (Richardson, Pope, Sterne) with literary experimentation in response to digital technologies (Moulthrop, Montfort/Strickland, Rodgers).
Rebecca Lundal - 04.10.2013 - 11:30
