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1. The Famous Sound of Absolute Wreaders

   A project by Johannes Auer for the ORF Kunstradio, Vienna. With: Reinhard Doehl, Sylvia Egger, Oliver Gassner, Martina Kieninger, Beat Suter und René Bauer Performer: Christiane Maschajechi, Stuttgart Peter Gorges, Stuttgart
   6 net authors generate a text on the others' web projects. 2 narrators/announcers perform the texts in form of a collage, remix, dialogue and (white) noise. 6 net authors form a new netart projects using the texts of the others. The radio version of this net project consists of four parts which add up to a radio play that represents different grades of (human) control: Part 1 is a kind of hand-made collage of the complete written material and, thus, is controlled "by human". For Part 2, the text modules of this collage were re-assembled by the computer (randomly "generated") - human control was abandoned. In Part 3, the announcers comment on this computer-generated collage - bringing human control back in (but at the same time infiltrating the meaning of authorship). In Part 4, finally, the announcers themselves lose control due to t heir being under the influence of alcohol ...

   Johannes Auer - 05.11.2012 - 13:15

2. Apple in Space - Search the World

   Crossing borders, experiments, the appropriation of reality instead of a depiction of the world, dialogic art, the play with associations: this is Reinhard Döhl's work. His probably most famous work is his concrete Apfelgedicht (Apple Poem) from 1965. 30 years later it bites its way through an apple in Johannes Auer's net poem "worm applepie for döhl". „appleinspace“: a multi-layer-hommage experimenting with internet, reality, textual reality as well as with the complete text assemblage of Reinhard Döhl which plays with the unconscious, simularity, and volatility. As an extension of „appleinspace“, Beat Suter und René Bauer plan a multi-layered human-search-machine-cooperation.

   Johannes Auer - 06.11.2012 - 10:48

3. Codeworks: Netart on the border of Language and Codes

   Since the founding manifesto of the French Oulipo Group in 1962, in which it proposed writing poetry in computer programming language, there have been forms of electronic literature that not only employ computers primarily as text generators or audiovisual media, but also use programming, command, markup, and protocol codes as their medium. Departing from popular forms of this literature in the computer hacker culture, network artists like jodi, antiorp, and mez have been developing new poetic and artistic languages since the mid-nineties, for which the artist and theorist Alan Sondheim has coined the name “Codework.” Codeworks are technically simple e-mails whose text, however, calls to mind associations of computer crashes and interferences, viruses and spam. Initially, they were sent via network art mailing lists as interferences; later entire forums dedicated to the genre, individual styles, and private languages by individual and often pseudonymous code artists began developing. This program attempts for the first time to transpose codeworks from the written source text to radiophony.

   Johannes Auer - 06.11.2012 - 10:55

4. Collage / Montage: Idensen live!

   eft channel: hyper reader and writer hei+co@hyperdis.de (aka heiko idensen) says "live" what comes to his head ... (= SPEAK) right channel: cut-ups and collages of historical/hysterical hyper texts (= LISTEN) the mix is the bottom line: who's sitting at the mixing desk? when is something faded in resp. out? which parameters and effects are used? a hyper-text audio-book should definitely have a record button! whilst hyper-text theorists and prophets predicted an exponential, uncontrollable increase of the electronic text rotation, publishing houses respond to the growing breakdown of the book market with audio books as a remedy. as a consequence, in dealing with literature a revolution comparable to that in the music industry of the 1980s triggered off with the introduction of the walkman is finally happening: a mobilization of the listening situation taking the urban environment into account; the possibility to mix the internal listening space with any desirable external sound environment or everyday sound-scape.

   Johannes Auer - 06.11.2012 - 11:01

5. Free Lutz!

   50 years ago a calculator generated a literary text for the first time ever. And this was in Stuttgart my hometown.
   Theo Lutz wrote 1959 a program for Zuse Z22 to create stochastic texts. On the advice of the Stuttgardian philosopher Max Bense, he took sixteen nouns and adjectives out of Kafka’s “Schloss,” which the calculator then formed into sentences, following certain patterns. Thus every sentence began with “ein” or “jeder” (“one” or “each”) or the corresponding negative form “kein” or “nicht jeder” (“no” or “not every”). Then the noun, selected arbitrarily from the pool of sixteen, was linked through the verb “ist” (“is”) with the likewise arbitrarily chosen adjective. Then the whole assembly was linked up through “und,” “oder,” “so gilt” (“and,” “either,” “thus”) or given a full stop. Following these calculation instructions, by means of this algorithm, the machine was able to construct such sentences as:

   EIN TAG IST TIEF UND JEDES HAUS IST FERN
   (A day is deep and every house is distant)
   JEDES DORF IST DUNKEL; SO GILT KEIN GAST IST GROSS
   (Every village is dark, thus no guest is large)

   Johannes Auer - 06.11.2012 - 13:51

6. POPstory

   POPstory, ein Netz-Literatur und Hypertextprojekt; nichts statisches, ständig in Bewegung, ständig wachsend und sich verändernd. Über ein Redaktionssystem konnte die Website um neue Texte erweitert werden. Zum Einsatz kam eines der frühesten Content-Management-Systeme (noch bevor der Begriff 'CMS' geboren war).

   POPstory lesen + POPstories schreiben. Lektüre für e-People, für eine vernetzte Leserschaft und für alle, die auch ohne Bücher lesen wollen.
   An POPstory kann sich aber auch beteiligen, wer gerne selber schreibt und Lust am erfinden abgedrehter Geschichten hat. Denn POPstory ist eine offene Textplattform für kreative Leute und Menschen mit ausgefallenen Erzähl-Ideen. Technik muß dabei kein Hinderniss sein, im Gegenteil: alle Beiträge stehen auf klick online, jede/r kann bei POPstory zum Online-Publisher werden. Einfach einloggen und schreiben.

   Spielregeln: Jede/r kann bei POPstory zum Autor/zur Autorin werden und Texte im Sinnes des Plots beitragen. Der Phantasie und Kreativität sind hier keine Grenzen gesetzt.

   Jörgen Schäfer - 07.11.2012 - 16:38

7. DADA TO GO: A WALKTHROUGH LEVELS

   To trail DADA traces on the net is a possibility to look up loose text satellites on a short-term and to bring singular DADA groups and sources to level a structural gap. Here, it doesn’t make much sense to talk about DADA per se, as approaches to and updates of DADAism as a historical phenomenon are too diverse: for instance, virtual identities settle in – present (babel, hugo baron, frieder rusmann, dadasophin) and historical ones (duchamp, tzara, serner, ball, schwitters), bananas are traded (anna banana) and indexed, art’s and the artist’s death is given shape (kunsttot.de), virtual countries are built (bananaland, rongwrong puppet empire) and, sometimes, even the audience is happily dispensed with (neumerz, dadasophin). DADA TO GO bundles these different traces in an audio text which lets the DADA groups act within an environment which refers to computer games and makes DADAism get a move on. For: Boredom was in the beginning of DADA … (Source: kunstradio.at)

   Johannes Auer - 08.11.2012 - 16:07

8. Archiving Electronic Literature and Poetry: Problems, Tendencies, Perspectives

   Electronic literature and E-Poetry is updated, interactive, subjective and well networked. But how durable is it? How long do texts published on web pages remain readable? It seems ironic that the transient character of the internet is attached to a medium that seems to be very suitable for documentation and archiving. All information is automatically digitally recorded and processed. This enables digital storage and retrieval as well as mirroring on different servers. There already exist a number of (often private) archive platforms that should be systematically supplemented by extensive archiving by national libraries. And still each website only remains available on the internet at its original address for less than 100 days on average. Afterwards it moves or is erased completely. This is of course also the case for Net literature. Projects can furthermore no longer be playable because their contents required plugins that are outdated; or they are only optimized for certain, old browser versions and no longer work on newer browsers.

   Audun Andreassen - 03.04.2013 - 10:28

9. Lineages of German-language Electronic Literature: the Döhl Line

   There are numerous essays and reviews on German-language electronic literature, which run from the mid nineties to the present day. Most of these texts, however, are written in German – a language that is no longer accepted and common as an universal language for science.

   In order to present the overview of German language electronic literature, we filtered out some historical lines that may explain better how the development of individual genres came about. A good starting point may be the very first experiments of authors with computers to generate electronic poetry, a subject the international community mostly agrees upon.

   The following model of historical lines of development is suggested:

   Scott Rettberg - 27.10.2013 - 16:48

10. Networks of Net Literature - Modelling, Extracting and Visualizing Link-Based Networks in the DLA corpus of net literature

    Net literature on the WWW is characterized by a special relationship between literary text and technical medium. In addition to the importance of graphic and typographic design, this includes in particular the hypertext structure of the texts. The distribution of a literary text across several interlinked web pages often leads to a non-linear structure, which usually corresponds to non-linear narrative structures. We consider a non-linear text structure to exist as soon as a page contains more than one reference to subsequent pages. A linear passage through the entire text is then no longer possible. For narrative texts, this also implies a non-linear narrative progression. Non-linear text structures can allow predominantly linear narrative progressions with alternative strands, variable endings, and cyclical elements, or multiple narrative progressions through complex linking.

    Daniel Johannes Flaten Rosnes - 25.05.2021 - 20:14

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