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1. 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

2. Sound and electronic literature: “Under language” and “narrative archaeology”

   This presentation describes the process of remixing (recombining, reconceptualizing) sound artifacts and pioneering works of electronic literature no longer available- (…) The techne proposed here promotes new opportunities and challenges for moving forward with our conceptions and practices regarding sound based electronic literature.

   (Source: ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:27

3. Writing Without Type: Explorations in Developing a Digital Writing Practice

   As new ways of sharing stories emerge, how does this impact on our writing processes, the ways in which they are informed by previous practices, and the development of new possibilities? Technologies shape stories (Zipes, 2012, p. 21), yet as digital texts take on ever more varied forms – multimedia, sensor-driven, embedded in objects and located in landscapes – contemporary writing practices remain linked to the production of the printed book (Bolter, 1991, p. 5). This paper considers opportunities and challenges in shifting from using only chirographic and typographic tools in writing practice to utilising methods from the oral tradition and other practices.

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:39

4. Literature Beyond the Text: Vliterature, Towards a Post-textual Literature?

   Moving from writing to amateur video could not have happened without the easily available technology and the web and social media that enable the author to circulate their work without needing a heavy infrastructure. In this sense, and with the underlying open attitude to the concept of the literary and modes of publication, this new ‘vliterature’ is fundamentally governed by the logic of the internet. At the same time, in addition to being inspired by filmmakers’ diaries and experimental short film, it can also be seen as a return to an older form of literature, the tradition of orality. This paper proposes to discuss the context in which this trend has emerged and the various practices it has engendered, with a focus on the modes of presence of what can be considered to be ‘literary’ practices and artefacts in such ‘writerly videos’ or vliterature.

   Hannah Ackermans - 08.12.2016 - 14:45

5. Machine Network Reading

   This paper will analyse Cayley and Howe’s project in order to discuss how reading and writing is configured by Google’s network machine. It will address Google as a primary example of a new interface industry and besides describing how it reads and writes us as readers, it will discuss whether and how we can read it. If Google (…) instrumentalizes and capitalises language as an interface industry, how can we read and write, what can we read and write and on which terms?

   (source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:52

6. Speed Readers and Predictive text: Encounters with New Media Through the Glitch Poetics of Caroline Bergvall and Erica Scourti

   This paper performs a reading of the ‘glitch poetics’ of Caroline Bergvall and Erica Scourti pivoting between analyses of their works via two specific contemporary technologies. As well as reflecting on the artworks themselves, the paper aims to show how the various of forms of error they employ, allow for new perspectives on conditions for contemporary textuality. Glitch poetics is a framework for reading and writing, it refers to a set of tactics in which errors are captured, mimicked or induced to produce moments of “critical sensory encounter” with the technics of language. This perspective on linguistic error is influenced by the ways that glitches and malfunctions have been valorised in media arts’ “glitch art” movement – particularly the way these practices reveal the formally withdrawn aspects of ‘black-boxed’ devices and software. But the glitch is a highly subjective categorisation, and new media – by their very newness – can also be said to constitute ruptures in what was formally inaccessible. Our encounter with new media, in this sense, is often indistinguishable from the unsettling encounter we associate with glitch.

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:55

7. Algorithmic Adaptations – Writing With and Against the Intelligent Machine

   I will outline my understanding of how writing through digital media extends the practice of self-translation (an area which has recently attracted attention in translation studies) and writing in general. As an example of technogenesis, writing with and against the intelligent machine opens a wide spectrum of interaction where the human actor both adapts to and resists the influence of the digital media. Writing through this type of translation becomes a self-reflexive practice, in which the translation functions as a mirroring device that prompts the writer to return to the “original” and then again to the “translation.” Ultimately, the outcome is a back-and-forth process in which the binary between original and translation collapses.

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:59

8. Modeling Literature: How Generative Literature Produces Literature Anew

   In this paper, I regard generative literature as a model-object from the perspective of Mahr and Erdbeer’s application of model theory in order to give insight into the functioning of generative literature as well as further specify the new research focus of literary model theory (Erdbeer 2014). Through the modelling practice of literature generators, own preconceptions of what literature is (supposed to be), are projected. In its algorithmic writing, generative literature mimics intention-typical literature while at the same time destabilizing its very foundations. Through multiple short case study analyses, I outline (1) how generative literature self-reflexive in the sense that it is a model of literature, (2) how literary models change due to practices in generative literature and (3) how temporality is modelled in generative literature.

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 15:03

9. Adapting Children’s Literature into Hypermedia Apps: a Constant Dialogue between Digital Media and Print Tradition

   The market for children apps is growing at a fast pace and already represents a considerable share of the global supply, both in term of downloads and distribution (See figures and reports on appfigures.com). Despite the relative paucity of literature on games and edutainment, the variety of contents available is wide and includes adaptations of classic and contemporary texts, as well as original contents specifically conceived for digital environments. Our contribution aims to consider a sample of this rich production, especially focusing on a corpus of adaptations of classic and contemporary children picturebooks, selected for their large panel of literary-significant multimodal [KRESS 2010 ; LEBRUN – LACELLE – BOUTIN 2012] and hypermedia elements [BOLTER – GRUSIN 2000]. “

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 15:07

10. Forging Paths with the Experience of Producing E-books for Children in Brazil

    As publishers of children’s e-books – the first publishing house of exclusively digital books for children in Brazil – we are part of an editorial market consolidated for centuries and, at the same time, we participate in the production of digital contents, which puts our hybrid production in a point of union between past and future. (…) The experience we are building with this publishing house of children’s e-books in the present political, social and cultural context in Brazil unites transdisciplinary pedagogical and editorial knowledge, using them as instruments that allow the maintenance of what historically is understood as children’s literature: a space for varied languages and many authorships.

    (Source: Abstract ICDMT 2016)

    Hannah Ackermans - 08.12.2016 - 15:11

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