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1. Digital Poetics or On the Evolution of Experimental Media Poetry

   The academic and literature critical discussion on new media poetry or about digital texts swings to and fro, in method and conception between two poles: one is the 'work immanent' approach of structure description and classification, and the other the deduction of abstract media esthetics. At a tangent to this the communication on media, culture and media art has been more or less committed to the priority of technological reasoning since the nineties at the latest. The concern with technology remains a dilemma: Technology has to be taken into account when dealing with concrete structure analyses of works of digital poetry, but some traps lie in wait. Is the knowledge accounted for here really sufficient? I would say that few of those taking part in the discussion who do not actually work in the specific area artistically are capable of programming digital texts (the same may be said of some artists). Another problem is something I have casually termed a new techno-ontology: a ‘cold fascination’ for technological being (also of texts), which flares up briefly with each innovation pressing for the market in the respective field.

   Patricia Tomaszek - 14.09.2010 - 14:16

2. Lexia to Perplexia

   Author description: Lexia to Perplexia is a deconstructive/grammatological examination of the "delivery machine." The text of the work falls into the gaps between theory and fiction. The work makes wide use of DHTML and JavaScript. At times its interactive features override the source text, leading to a fragmentary reading experience. In essence, the text does what it says: in that, certain theoretical attributes are not displayed as text but are incorporated into the functionality of the work. Additionally, Lexia to Perplexia explores new terms for the processes and phenomena of attachment. Terms such as "metastrophe" and "intertimacy" work as sparks within the piece and are meant to inspire further thought and exploration. There is also a play between the rigorous and the frivolous in this "exe.termination of terms." The Lexia to Perplexia interface is designed as a diagrammatic metaphor, emphasizing the local (user) and remote (server) poles of network attachment while exploring the "intertimate" hidden spaces of the process.

   (Source: Author's description from Electronic LIterature Collection, Volume 1)

   Patricia Tomaszek - 16.09.2010 - 17:11

3. Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres

   While literature in computer-based and networked media has so far been experienced by looking at the computer screen and by using keyboard and mouse, nowadays human-machine interactions are organized by considerably more complex interfaces. Consequently, this book focuses on literary processes in interactive installations, locative narratives and immersive environments, in which active engagement and bodily interaction is required from the reader to perceive the literary text. The contributions from internationally renowned scholars analyze how literary structures, interfaces and genres change, and how transitory aesthetic experiences can be documented, archived and edited.

   Patricia Tomaszek - 17.09.2010 - 17:19

4. Loss of Grasp

   “Loss of Grasp” is an interactive narrative about the notions of grasp and control. What happens when one has the impression of losing control in life, of losing control of his/her own life? Six scenes tell the story of a man that is losing himself. “Loss of Grasp” plays with the grasp and the loss of grasp and invites the reader to experiment with these feelings in an interactive work.

   Serge Bouchardon - 21.09.2010 - 11:28

5. Babel

   Babel is a site specific work for a non-site. The context of the work is non-physical. The site is an abstract thing...information space and the taxonomy of knowledge that all libraries represent...which the Internet, where the project is realised, is.

   The Dewey Decimal numbering system, used in the cataloguing of library contents, is the key metaphor, visualised in a three dimensional multi-user space that is itself a metaphor for the infinite nature of information.

   In Babel the Dewey Decimal system is used as a mapping and navigation technique. The structure of the library is re-mapped into the hyper-spatial that constitutes the Web. The Dewey numbering system is employed as a means to navigate the internet itself, the taxonomy inherent in the numerical codes mapping onto web-sites that conform with the defined subjects.

   Simon Biggs - 21.09.2010 - 11:36

6. The Aesthetics of Materiality in Electronic Literature

   According to the French author and theoretician Jean-Pierre Balpe, “all digital art works are first conceived outside the framework of a pragmatic relation to materiality. Any manifestation of digital art is but a simulated moment of an absent matter.”

   However, I wish to show that there is at least as much materiality in the digital media as in other media. Of course, as a formal description, digital and material can be distinguished. Digital media correspond to formalization, insofar as formalization is understood as the modelling of a given reality through the use of a formal code. But because digital media refers to the effectiveness of digital calculation, it can be considered as “material”, at least on two levels:

   Eric Dean Rasmussen - 27.01.2011 - 15:39

7. Some stylistic devices on media interface

   author-submitted abstract: In the past, the “innovations” of electronic poetry often have been circumscribed in rather general terms; today, it seems important to characterize its stylistic, semantic and pragmatic devices with more precision. The traditional “figures of speech” have sometimes been considered as capable of achieving this aim. By denominations like “animated metaphor”, I have tried for example in my book Matières textuelles sur support numérique to describe “phenomena of meaning” in electronic literature, when animation effects enter in meaningful relations with the contents of words or letters. It is however undoubtedly dangerous to use a terminology which have been forged to characterize textual phenomena, whereas the signs of electronic texts are often based on various semiotic systems. In a recent article for the review Protée (which I also presented during the e-poetry seminar in Paris), while describing what I would call “figures of speech on media surface”, I sometimes continue to use traditional taxonomies; in order to avoid too dangerous analogies, I try in other cases to invent a new terminology.

   Eric Dean Rasmussen - 27.01.2011 - 16:57

8. Rev. of Beyond the Screen. Transformations of Literary Structures, Interfaces and Genres

   Rev. of Beyond the Screen. Transformations of Literary Structures, Interfaces and Genres

   Eric Dean Rasmussen - 04.02.2011 - 12:43

9. Technics and Violence in Electronic Literature

   Technics and Violence in Electronic Literature

   Eric Dean Rasmussen - 22.02.2011 - 20:51

10. Ex-foliations: Reading Machines and the Upgrade Path

    In Ex-foliations, Terry Harpold investigates paradoxes of reading’s backward glances in the theory and literature of the digital field. In original analyses of Vannevar Bush’s Memex and Ted Nelson’s Xanadu, and in innovative readings of early hypertext fictions by Michael Joyce and Shelley Jackson, Harpold asserts that we should return to these landmarks of new media scholarship with newly focused attention on questions of media obsolescence, changing user interface designs, and the mutability of reading. In these reading machines, Harpold proposes, we may detect traits of an unreadable surface—the real limit of the machines’ operations and of the reader’s memories—on which text and image are projected in the late age of print. (Source: Publisher's website.)

    Eric Dean Rasmussen - 24.02.2011 - 09:48

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