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1. Translation, transmutation, transmediation and transmission in TRANSMIISSION [A DIALOGUE]

   This paper interrogates translation as a mode of creation and dissemination in one recent work of electronic literature, TRANS.MISSION [A.DIALOGUE]. To do this, translation is situated within the broader context of a string of trans variables: var trans=[lation, mutation, mediation, mission]. Trans- is a prefix meaning across, beyond, through. -lation comes from the Latin, borne, as in carried, or endured. In the translation of born-digital texts from one code language to another, what precisely is borne across, beyond, or through?

   Eric Dean Rasmussen - 12.06.2012 - 16:37

2. Elvia Wilk in Conversation with J. R. Carpenter

   Electronic Literature is a loaded and slippery category. It is rather dryly defined by the Electronic Literature Organization (what other art form needs a governing body?) as “works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer.” Does this mean everything or nothing?

   If there’s one person who knows the ins and outs of e-Lit as a category and an institution, it’s J. R. Carpenter. The Canadian artist, writer, performer – and myriad other titles – first logged onto the internet in November 1993, and has been deeply invested in making work both online and off ever since. This work floats across all mediums: zines, novels, hypertext fictions and performances, all referencing and circling back on each other.

   J. R. Carpenter - 17.03.2014 - 10:57

3. Reviewing Propp's Story Generation Procedure in the Light of Computational Creativity

   Vladimir Propp’s analysis of Russian folk tales is known to have produced a semi-formal description of the structure of these tales that has acted as inspiration for several story generation systems, both sequential and interactive. Its exhaustive description of the constituent elements of tales of this kind, and the enumeration of the patterns they follow provided a very useful starting point for researchers looking for computational implementations of story generators. However, it is less generally known that in his book Propp also proposed a procedure for the generation of new tales based on his analytical framework. Although this generative procedure is much less formal than its analytical counterpart, it is one of the first existing instances of a creative process described procedurally. Of particular interest for the field of creative story generation is the number of issues that are declared relevant but not explored in detail.The present paper revisits Propp’s description and focuses on the task of generating the sequence of character functions that determine the plot of the tale.

   Maya Zalbidea - 02.05.2014 - 17:49

4. La littérarité du code informatique TRANS.MISSION [A. DIALOGUE]

   Pour le numéro d’automne 2013 de la revue de littérature hypermédiatique en ligne bleuOrange, j’ai eu l’occasion de traduire l’œuvre TRANS.MISSION [A. Dialogue] de J. R. Carpenter. Créé en 2011, TRANS.MISSION [A. Dialogue] est un récit généré par un programme informatique, un fichier JavaScript écrit en HTML 5.

   J. R. Carpenter - 05.05.2014 - 11:05

5. Swimming against the data stream: plot, polyphony and heteroglossia in data-­driven writing

   Conference presentation proposal for ELO 2014 “Hold the Light”

   Unprecedented access to real-time social data is changing the way we tell stories about ourselves. Social data is being utilised within a wide variety of electronic literature and media art from Mark Hansen and Ben Rubin’s Listening Room to the recent explosion in Twitter bots which remix digital text. These practices have been designated under the rubric “environmentally interactive” digital writing (Wardrip-Fruin 2010, p. 41). Such writing often takes the form of a data stream (Manovich 2012), representing content as a chronological flow of units of information, with the newest information being most salient.

   Alvaro Seica - 19.06.2014 - 23:58

6. Call and response: Towards a digital dramaturgy

   In support of their belief that the truest test of a methodology is to apply it to a new set of questions/practices, Barbara Bridger and J.R. Carpenter embark on a conversation about Carpenter’s computer-­generated dialogue: TRAINS.MISSION [A.DIALOGUE]. As they attempt to find language appropriate to an extended notion of dramaturgy capable of both contributing to and critiquing a digital literary practice, their calls and responses to one another come to perform the form and content of the dialogue in question. The resulting discussion provides an example of putting performance writing methodology into practice.

   J. R. Carpenter - 23.06.2014 - 13:28

7. ELO: Theory, Practice, and Activism

   One of several early career participants at the Electronic Literature Organization’s Summer 2012 “Futures” panel, Claire Donato comes down on the side of non-commercial, non-entrepreneurial, educational approaches to an emerging digital literary practice.

   clairedonato - 27.06.2014 - 21:16

8. Troubadours of Information: Aesthetic Experiments in Sonification and Sound Technology

   When Ezra Pound exchanged his initial affinities for the fin-de-siècle decadence of pre-war London poetics for a growing interest in mediaeval troubadour traditions, he was looking beyond innovations in literary form and technique; there is ample evidence in much of his critical writing even at this early stage in his career that the poet was seeking a more philosophical relationship between representation, social ethos and cultural meaning. In the song and musical customs of the troubadour, as cultivated within the “Romance” languages and traditions of southern Europe, Pound identified a rare instance where an artwork’s material form inspired shared cultural sensibilities that transcended any and all context specific references or allusions. Exemplary of this level of aesthetic idealism in the troubadour romance, for Pound, are the songs of the 13th century Tuscan poet, Guido Cavalcanti (d.1300). Cavalcanti’s remarkably precise dedication to the structure and rhythm of the line, Pound informs us, demonstrates equally the “science of the music of words and the knowledge of their magical powers” (1912).

   Jeff T. Johnson - 27.06.2014 - 21:22

9. Del arte de medios al new media art: estrategias de contracultura y activismo

   Si bien ya presentes desde la década del 70, las TIC (las nuevas tecnologías de la información y la comunicación) registran un crecimiento exponencial en la década del 90 a partir de su digitalización, reconfigurando las dinámicas de la comunicación de masas. En el campo del arte se registran todo un conjunto de nuevos fenómenos: net.art, hacktivismo, open source, bending, open hardware, obras colaborativas y acciones impulsadas a través de la Red que, en gran medida, se presentan como herederas de las experimentaciones de los años 60s.

   Maya Zalbidea - 26.07.2014 - 15:31

10. Subvirtiendo signos: la estrategia de la apropiación en la cultura contemporánea

    Desde las artes visuales, a partir de los años 60, el pop art hace profuso uso de la apropiación. El tema de la apropiación se acerca peligrosamente al de la paranoia. Aquí aparecen alteregos y fantasmas esquizoides de lo propio-ajeno y de lo mismo-otro. En este juego de signos duplicados y dobles códigos (de expectación, de lectura, de escucha), la significación se duplica, siempre alterada, dando lugar a una serie de cuestionamientos. ¿Referencia sin referente, según planteaba Derrida? ¿Dobles de nada, al decir de Baudrillard? La apropiación nos invita a desconfiar de todo texto, de todo signo, de toda identidad.

    Maya Zalbidea - 26.07.2014 - 15:40

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