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1. Comedies of Separation: Toward a Theory of the Ludic Book

   To date, small effort has been given to create a general critical vocabulary for describing the wide range of digital literary works. This paper attempts to describe a range of effects in digital literature—relating to time, power, scale, duplication, being, and the ontology of the database—and introduces a new concept, the “simple,” here understood as a node of text/algorithm interaction. Several small-scale works that operate on one or two new media principles can be grouped under these simples. Cumulative works (such as the magisterial “88 Constellations for Wittgenstein” by David Clark) here known as “ludic books,” are described as being composed of several of these simples.

   Jill Walker Rettberg - 23.01.2013 - 12:04

2. Constructing an Aesthetic of Web Art from a Review of Artists' Use of the World Wide Web

   Constructing an Aesthetic of Web Art from a Review of Artists' Use of the World Wide Web

   Jill Walker Rettberg - 23.01.2013 - 12:54

3. Between Code and Motion: Generative and Kinetic Poetry in French, Portuguese, and Spanish

   This article looks at works of electronic poetry in French, Portuguese, and Spanish. While video and digital experiments in these languages date back to the 1970s and 1980s, the works considered here are mostly post-World Wide Web, i.e., produced between the mid-1990s and 2009. The article discusses the work of Philippe Bootz, founding member of Lecture, Art, Innovation, Recherche, Écriture (LAIRE) and theorist of programmed literature. It comments on the relationship between digital computer code and literature, addressing the materiality of the display and poetics. Other topics explored include programming poetry, patterns of specific writing processes, and automatic text generation. Through analysis of computer-assisted multimodal and retroactive forms, this essay discusses the role played by code and motion in digital works. It also stresses the function of language as cultural form in electronic literature.

   (Source: Author's abstract)

   Scott Rettberg - 23.01.2013 - 23:20

4. Электронная литература: неизвестное неизвестное.

   Электронная литература: неизвестное неизвестное.

   Natalia Fedorova - 27.01.2013 - 02:42

5. 'I know what it was. You know what it was': Second Person Narration in Hypertext Fiction

   This article offers an analysis of two Storyspace hypertexts, Stuart Moulthrop's Victory Garden and Richard Holeton's Figurski at Findhorn on Acid. The article has a specific focus on how the text implements second-person narration and other forms of the textual "you" (Herman, Story Logic) in juxtaposition with other narrative perspectives. We aim to explore the extent to which print-based narratological theories of the textual "you" apply to the texts under investigation and suggest theoretical tenets and taxonomic modifications arising from the way in which the reader is involved in textual construction. More specifically we will show first how second-person narration can be used in digital fiction to endow the reader with certain properties so that she is maneuvered into the position of "you." We will then show how second-person narration can be used to presuppose knowledge about the reader so as to predict her relationship to "you." In both cases we will show that some instances of second-person narration in digital fiction require additional theoretical categories for their analysis.

   Alice Bell - 29.01.2013 - 16:03

6. 'Click = Kill'. Textual You in Ludic Digital Fiction'

   This article offers a close-reading of geniwate's and Deena Larsen’s satirical, ludic Flash fiction The Princess Murderer (2003), with a specific focus on how the text implements second person narration and other forms of the textual you (Herman 1994, 2002) in juxtaposition with other narrational stances.

   Alice Bell - 29.01.2013 - 16:06

7. Literature as Echo: Mark Z. Danielewski's House of Leaves

   Este ensaio analisa em profundidade o romance House of Leaves (2000) de Mark Z. Danielewski. O romance, com marcas de textualidade digital, apresenta-se como um sistema englobante e multi-estratificado, ficcionalmente construído por diferentes autores e narrativas. Deste modo, estas narrativas formam uma obra total que revela e parodia diversos aspectos do romance gótico, assim como outros géneros e modos. Porém, a sua estrutura é formalmente urdida como uma narrativa hipertextual. Por estes motivos, seria inexacto classificar House of Leaves como sendo ou um ou outro objecto literário, pelo que proponho uma leitura “participativa” nestas categorizações.
   Por último, examino o conceito de eco, que é explorado por Danielewski no capítulo V, como uma dimensão essencial para compreender a progressão das personagens ao longo da narrativa. Esta perspectiva permite-me concluir que a literatura só atinge o seu potencial quando se manifesta como uma produção singular de eco, ou como uma ausência desconcertante de eco, no sentido de um desconforto e de um estranhamento (ostranenie) na consciência do leitor.

   Alvaro Seica - 18.03.2013 - 01:03

8. The Electronic Word: Literary Study and the Digital Revolution

   The Electronic Word: Literary Study and the Digital Revolution

   Jill Walker Rettberg - 07.06.2013 - 11:13

9. A Travesty Generator for Micros

   Literary critical Hugh Kenner and computer scientist Joseph O'Rourke introduced their Perl text scrambler "Travesty" in an issue of BYTE magazine.

   Jill Walker Rettberg - 09.06.2013 - 23:48

10. The Extended Mind

    The Extended Mind

    Elisabeth Nesheim - 18.06.2013 - 15:36

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