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The Novel as Multimedia, Networked Book: An Interview with Steve Tomasula
Steve Tomasula is the author of several novels—VAS: An Opera in Flatland [2002], The Book of Portraiture [2006], TOC: A New-Media Novel [DVD, 2009; App for iPad, 2014], IN&OZ [2012]—, short stories—Once Human: Stories [2014]—and essays. His work reflects on language, technology and embodiment at the intersection between the human, society and culture. Inventive explorations of the technologies of the book, his narrative image-texts and image-audio-texts are complex multimodal and multimedia compositions that reveal the interconnectedness of print and digital codes. Expressed through graphic devices and source code, these material interventions are functional elements in weaving a transdisciplinary web of discourses —literature, biotechnology, cybernetics, art history. Heterogeneous and dialogical, the novel-form is transformed into a multilayered media assemblage and a meditation on our post-human experience.
Scott Rettberg - 25.07.2016 - 15:23
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Generations of Meaning
This paper is a comparative reading of two works of generative literature: Scott Rettberg's Frequency Poetry Generator and J.R. Carpenter's Excerpts from the Chronicles of Pookie & JR from a structuralist perspective.
Viktor Shklovsky described the effect of literature in his 1988 article "Art as Technique", in which he describes the difference between practical and poetic language. The essence of poetic text, according to Shklovsky, is its process of "defamiliarization": The reader will see his/her familiar world in a different light due to poetic rather that practical descriptions. In generative poetry, however, the defamiliarizing effect does not stop there. Not only does one see the world differently, but the way one sees poetry itself is defamiliarized. This defamiliarizing effect does not mean that there are no rules. The formal elements of the text guide the reader, as Culler describes in his article "Literary Competence".Hannah Ackermans - 26.07.2016 - 09:49
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Electronic Literature: A Matter of Bits
From January 19, 2016 through April 21, 2016, The Stedman Gallery will host an electronic literature exhibition entitled “Electronic Literature: A Matter of Bits.” The exhibition is sponsored by the Digital Studies Center and was curated by Director Jim Brown and Associate Director Robert Emmons.
Alvaro Seica - 20.09.2016 - 14:09
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Aesthetic Animism: Digital Poetry's Ontological Implications
This book offers a decoder for some of the new forms of poetry enabled by digital technology. Examining many of the strange technological vectors converging on language, it proposes a poetics appropriate to the digital era while connecting digital poetry to traditional poetry’s concerns with being (a.k.a. ontological implications). Digital poetry, in this context, is not simply a descendent of the book. Digital poems are not necessarily “poems” or written by “poets”; they are found in ads, conceptual art, interactive displays, performative projects, games, or apps. Poetic tools include algorithms, browsers, social media, and data. Code blossoms into poetic objects and poetic proto-organisms. Introducing the terms TAVs (Textual-Audio-Visuals) and TAVITS (Textual-Audio-Visual-Interactive), Aesthetic Animism theorizes a relation between scientific method and literary analysis; considers the temporal implications of animation software; and links software studies to creative writing. Above all it introduces many examples of digital poetry within a playful yet considered flexible taxonomy.
Alvaro Seica - 22.09.2016 - 15:10
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Digital Plenitude and Popular Modernism
Digital Plenitude and Popular Modernism
Alvaro Seica - 07.10.2016 - 12:12
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The CounterText Interview: Stephanie Strickland
The CounterText Interview: Stephanie Strickland
Julianne Chatelain - 10.10.2016 - 08:03
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O Experimentalismo como Invenção, Transgressão e Metamorfose: A PO.EX Revisitada Através de Po-ex.net
O experimentalismo português iniciou-se na década de 1960, com um propósito comum de conferir ao acto poético valores artísticos, políticos e sociológicos assentes numa ruptura de vanguarda. O presente ensaio situa a intervenção experimental como invenção, transgressão e metamorfose, visto que perpassa as obras dos autores de "Poesia Experimental" e, mais tarde, de um novo conjunto de autores que exploraram a poesia visual, sonora, digital e a performance. Através do arquivo Po-ex.net, que documenta e dissemina o seu estudo, traçam-se dois itinerários, revisitando algumas das obras com carácter interventivo e transformativo, desde os anos 1960 até à actualidade.
(Fonte: Resumo dos Autores)
Alvaro Seica - 07.11.2016 - 17:36
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Digital Poetry and Critical Discourse: A Network of Self-References?
This article emerges from macroanalysis of several works of critical writing in the field of digital poetry, which have been documented in the ELMCIP Knowledge Base. The problems addressed in this context are the self-referentiality exhibited by authors who are both practitioners and theoreticians, and the need for a wider selection of digital poems in critical discourse. The dataset consists of monographs and Ph.D. dissertations on digital poetry (1995-2015), which have been exported into visualization software. Macro and network analyses enable new debate concerning the outlined problems and new findings. My findings suggest that criticism in this domain is chiefly endogenous and that a limited number of poems is being canonized. Therefore, a meta-discourse perspective can pave the way for an external view of the field, concerning its epistemology and evolution. The dataset is available online for download and can be tested and reconsidered by other researchers.
(Source: Author's Abstract)
Alvaro Seica - 07.11.2016 - 18:08
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Transmedial and Transnational (Re-)Contextualisation: The Atlas Group Archive as an Instance of Traveling Memory
Walid Raad's The Atlas Group Archive (1989-2004) is a transmedial, fictional 'archive' which supposedly encompasses donated testimonies on the war in Lebanon (1974-1991), including diary logs, photographs (some of which contain notes), and videos, archived on theatlasgroup.org. In this case, the fictionality of the archive creates an archive where no real archive exists. The entire archive is transmedially constructed, in which the layering of content in each image becomes the key feature. There is, for example, a document named "Let's be honest the weather helped" (1998) contains a series of black-and-white images of buildings with colored dots on them, which supposedly signify various types of bullet hits (see fig. 1). The dots cover the whole area of bullet impact, so this media filter makes it impossible to verify if there were indeed bullet hits, and let alone which color the bullet tips were. The transmediality of the project is thus a means in conveying the impossibility of an archive and the unrepresentability of trauma. Medial borders are crossed through layering of content, reinforcing and destabilizing the truth value of testimony.
Hannah Ackermans - 29.11.2016 - 15:20
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For a New Mnemosyne: Art, Experience, and Technology
This paper will outline the key elements of an ongoing research project, whose main focus is to explore the application of new technology to the study of key works of modernism, whilst simultaneously arguing that modernism can itself offer fresh perspectives on contemporary digital art. I am interested in the way modernism presents the artwork as both an object to be experienced and as a structured theory of knowledge. This tension can be seen most obviously in such canonical works as Ezra Pound’s Cantos (1917-1969) where his aesthetic of the ‘luminous fragment’ is set against the poem’s larger, Dantescan, vision of history. Concomitantly, I wish to argue that the resources of digital technology offer a significant new set of tools for approaching modernism itself, allowing us to explore the boundary between the work of scholarship and work of art.
(Source: Abstract ICDMT 2016)
Hannah Ackermans - 08.12.2016 - 14:24
