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Experimental Electronic Literature from the Souths. A Political Contribution to Critical and Creative Digital Humanities.
Experimental Electronic Literature from the Souths. A Political Contribution to Critical and Creative Digital Humanities.
Hannah Ackermans - 28.01.2021 - 10:57
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Excavating Logics of White Supremacy in Electronic Literature: Antiracism as Infrastructural Critique
Thinking about the ways in which critical infrastructure studies can allow us to engage in antiracism critiques and practices, Ryan Ikeda provocatively challenges the electronic literature community to address some of the symbolic and material structures that he argues uphold the field. To this end, Ikeda positions elit infrastructure as dynamic and generative sites of cultural activity, and attends, in particular to the ELMCIP Knowledge Base, recent ebr discourses on decolonization, ELO fellowships, and literary historical genealogies, to examine how each constructs, affirms, racializes and extends power, privilege, and status to its members.
Hannah Ackermans - 05.02.2021 - 11:45
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Approaching the world of an instapoem
Instapoetry is entangled in the ecology of Instagram and the digital media ecology at large, which despite instapoetry’s very conservative output (images of text or images with textual elements), still has caused questions regarding how to approach it. While a lot of poetry on Instagram is simply images of poetry remediated on the social media, there also exist a type of platform literature, or platform poetry, which in this paper is treated as instapoetry proper.
With instapoetry proper the intent of publishing it on Instagram is something that affects how we should approach it aesthetically. From a media ecological and posthumanist perspective; while we use social media to do things, it also affects how we do things.
Cecilie Klingenberg - 20.02.2021 - 14:17
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The Politics of Web Materiality: Making Electronic Literature in the Capitalocene
We are on the brink of planetary catastrophe. Environmental, political, health and humanitarian crises have infused the zeitgeist of the Anthropocene with a sense of urgency (Crutzen and Stoermer 2000). Human activity has been placed in opposition (or as an add-on) to Nature, participating in a dialectical discourse that, like the binaries of sexism, racism, or even Eurocentrism, points directly to the violence, inequality and oppression of the modern world (Moore 2016). As these relate to climate and political change, the Anthropocene argument presents the exploitation and accumulation of capital as conterminous to human nature and progress.
Accumulation, however, is not only productive, but necrotic (McBrien 2016), in the sense that it unfolds a slow violence sustained by reduction or, perhaps, extinction: the reduction of cultures, languages and peoples; as well as the extinction of the Earth through depletion of resources. If accumulation is natural to us, then so are reduction and extinction.
Cecilie Klingenberg - 24.02.2021 - 14:40
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Fictionality in Critical Posthumanism: Why some Philosophies Need Genres of Invention
This paper explores the pervasive presence of literature, film, speculation, fabulation, and other genres of invention in the theoretical writings also known as “critical posthumanism.” Identifying a set of different appropriations of fictional discourse in theoretical work by, amongst others, Astrida Niemanis, Stacy Alaimo, Rebekah Sheldon, Donna Haraway, and Jane Bennett, the paper asks why theorists united by a common interest in “getting real”, to use Karen Barad’s phrase (1998), often turn to a type of discourse that is defined precisely by not committing itself to reality. What, in other words, do genres and rhetorical devices that deliberately and explicitly make stuff up allow thinkers within critical posthumanism to do that traditional academic styles of writing do not?
Cecilie Klingenberg - 24.02.2021 - 15:01
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Vegetable thought in Edgar Pêra’s Lisbon Revisited
Perhaps the most mysterious of Fernando Pessoa’s heteronymic exudations, Bernardo Soares is the author of the Book of Disquiet, an unparalleled artistic endeavour which was first published only many years after Pessoa’s disappearance. In one of the fragments that became part of the intricate composition of this “book,” Soares asks such questions as the following: “What do I know about the difference between a tree and a dream? I can touch the tree; I know that I dream.” It was through the idea of vegetable tangibility that the Portuguese film director and multi-artist Edgar Pêra made a film out of the words of one other of Pessoa’s texts – Lisbon Revisited (2014), which stemmed from the heteronymic incarnation of Álvaro de Campos. In Campos’s poem, the homonymous “Lisbon Revisited” (1923), the poet disowns metaphysics, appealing instead to the affirmation of the “empty and perfect truth” of the sky, of the river, and of the cityscape of Lisbon.
Cecilie Klingenberg - 24.02.2021 - 15:23
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Writing as collective assemblages in the age of (post)digital capitalism, or de-colonizing e-literature in the minor key.
In my proposition, I would like to explore the notion of the minor (Deleuze and Guattari, 1986), employed here as a theoretical tool allowing for a critical inquiry into multifarious e-literary post-internet practices, popularly referred to as Third-Generation E-Literature (Flores, 2019), and accompanied by third-wave e-literature scholarship (Ensslin et al., 2020). However, I am going to build on this notion following its recent repurposing by Anne Sauvagnargues (as the minor style) (Sauvagnargues, 2016) and Erin Manning (as the minor gesture) (Manning, 2016). Kathi Inman Berens aptly remarks (Berens, 2020) that de-colonization of e-literature requires multiplicity of perspectives, as it entails not only cultural hegemonies operating along geographical, ethnic and racial axes and following the set of distinctions shaped by modernist aesthetics, but it also needs to address widespread domination of Big Tech companies shaping the popular internet platforms, programming solutions and users' practices.
Cecilie Klingenberg - 24.02.2021 - 15:57
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The metainterface spectacle
With ‘interface criticism’ (Andersen and Pold) as an outset, we will address how the interface is in a transition from a closed system of interaction, to a dispersed network. More specifically, we are interested in how to relate aesthetically to this transition as a new mode of organization of the ‘masses’ (or ‘users’) that takes place in a cultural industry around metainterfaces. Following a path of critique from Benjamin, Kracauer, Crary, Hayles and others, we intend to discuss it as a new form of media spectacle: a ‘metainterface spectacle’ that simultaneously organizes the users, and offers a way of perceiving their reality as ‘cognitive assemblages’.
Cecilie Klingenberg - 24.02.2021 - 16:18
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Seeking Pleasure in the Confusion of Boundaries: Reading Posthumanism in Children’s Literature
Literature and art forms contribute significantly to the discussion of epistemological concerns of posthumanism. Which is to say that, literature and art imagine, interrogate and nurture the subjective and embodied attributes of the nonhuman experience. It is through such exploration of the experiential aspects that sensitivity and other similar personal engagements can occur, which can augment our comprehension of nonhuman beings and entities, that in turn can lead to conspicuous epistemological and ethical consequences.
To consider critical posthumanism as established only within critical theory and philosophy, wherein the idea of the human has been the moot point, is to neglect the significant role of popular culture and literature in the revaluation of the concept of the human.
Cecilie Klingenberg - 24.02.2021 - 16:24
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Contemporary Posterity
What does it mean to be post? In a time of countless movements of post-[x], the value of the prefix itself becomes of interest: what does it do to a concept to reposition it by turning it into a ‘posterity’?
I will unpack this question through an inquiry into the concept of ‘post-digital’, scrutinizing and seeking to overcome the problems of rigid periodization that the prefix ‘post’ might imply. Such an inquiry is arguably also central to the ongoing exploration of posthumanist tendencies in literary and aesthetic fields. Indeed, posthumanism and the (post-)digital are – historically and continuously – closely connected (cf. Haraway; cf. Hayles). As Laura Shackelford argues, the post-digital’s “practice-based experimentation continues to pursue … posthumanist inquiries and immanent engagements with technicity” (349).
Cecilie Klingenberg - 24.02.2021 - 16:40
