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Remediation of French Digital Poetry
Remediation of French Digital Poetry
Jill Walker Rettberg - 22.08.2013 - 15:07
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Remediation of French Digital Poetry
Remediation of French Digital Poetry
Jill Walker Rettberg - 22.08.2013 - 15:10
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La littérature numérique: un patrimoine à pérenniser
La littérature numérique: un patrimoine à pérenniser
Jill Walker Rettberg - 22.08.2013 - 15:16
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Literacy between book, page and screen – on Between Page and Screen by Amaranth Borsuk and Brad Bouse
The aim of the speech will be to show that e-literature realizations not only could be a renovation of avant-garde or even earlier tradition, but also in many cases provoke the same kind of questions which were made by theoreticians of (e.g.) formalism or structuralism in relation to avant-garde or modern text. Looking at electronic texts we re-ask about a literacy of those works and have to renovate our conception of literary communication, re-thinking not only the category of the text (as Aarseth did), but also the character of signs and code used in this kind of communication.
Jill Walker Rettberg - 23.08.2013 - 10:26
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Hipertextualités
Hipertextualités
Jill Walker Rettberg - 23.08.2013 - 10:29
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Hostages of the Ephemeral: A Preservationist View of Electronic Literature
Throughout history, stewards of cultural heritage collections have advocated for technologies of external memory based on their proven ability to endure into the future. Despite studies that demonstrate how zeros and ones inscribed on digital media often stand up well to the ravages of time, the long-term preservation of the content they encode—particularly in the field of electronic literature—has proven to be a challenge. This is because the accessibility of electronic literature depends as much on the preservation of bit-streams as on the long-term viability of specialized computing environments and their constituent hardware and software components, thereby placing works of electronic literature at considerably greater risk of disappearance than their analog predecessors. Although authors of electronic literature have cultivated a growing awareness of best practices in digital preservation, they still lack tools designed with the posterity of their creations in mind. This paper explores these issues, as well as the question of ephemerality for electronic literature, by assessing contemporary digital formats within the broader history of preservation technologies.
Jill Walker Rettberg - 23.08.2013 - 10:33
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Relocating the Literary: In Networks, Knowledge Bases, Global Systems, Material and Mental Environments
In two essays, "Toward a Semantic Literary Web" (2006, ONLINE at http://eliterature.org/pad/slw.html) and "Electronic Literature as World Literature" (2010, Poetics Today), I set out a project for identifying literary qualities and marking literature's present transformations within new media. The idea in these essays was to discern aesthetic and communicative qualities that I felt could be carried over to the present (e.g., Goethe's and Marx's unrealized call for the formation of a world literature "transcending national limits"), and those that could easily go missing (e.g., the materially bounded object whose aesthetic can be recognized and repeated by a generation of authors in conversation with one another, and renewed, revised, or renounced by later generations).
Jill Walker Rettberg - 23.08.2013 - 10:40
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Authorship and Autership in the Collaborative Development Process of Text-Based Games
The collaborative development of text-based Multi-User Dungeons (MUDs) has afforded writers an electronic medium for the discussion, production, and publication of e-literature. A MUD is designed to provide an immersive and interactive experience, and is achieved by the creation of a code-based structure that supports a literary text. However, when multiple contributors are involved there is a tension between the inherently fixed nature of literature and the more fluid versioning of software. In many software development environments, ownership over a work is considered to be counter-productive, whereas authorship of literature is assumed more freely and, as a means of contextual explication, is actively encouraged. MUDs must therefore function under colliding principles of authorship and ownership. The production of a large MUD’s literary text is conceived similar to the cinematic production of a film, with the lead designer of a MUD assuming the role of a ‘director’. The production and proliferation of electronic literature presents new and unique challenges to both the longitudinal administration of a MUD and to the coherence of the literary text.
Jill Walker Rettberg - 23.08.2013 - 12:04
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Spirals of Meaning: Exploring Nonlinearity through Prezi’s Infinite Canvas
Our linear expectations of digital presentations (and the scorn associated with “Death by PowerPoint) have been transformed by the availability of tools such as Prezi, an editor that allows for the juxtaposition of images, text, and other media on a telescoping canvas that relies on linear paths for exploring nonlinear content. Prezi acts an infinite canvas, recalling Scott McCloud’s model for a future of sequential art on the web defined not by pages but by the screen as portal to an expanding and linked storyspace, allowing for continual layering of meaning and data using the methods of what Henry Jenkins describes as environmental storytelling. Alexandra Saemmer's use of Prezi as a space for experimenting with electronic literature breaks our expectations of a tool originally designed for presentations. The adaptation of tools of this kind towards the development of literary experiences reveals the fundamental transformations of procedural expectations and linked structures in online spaces: the co-location and linking of ideas to create meaning is now a matter of course.
Jill Walker Rettberg - 23.08.2013 - 12:16
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"A Machine Made of Words by a Machine Made of Numbers"- Authorial Presence in Niemi’s Stud Poetry
Primary Text: Marko Niemi’s Stud Poetry, a demo of which would run during the presentation.
The paper opens with a brief discussion of the inherently conservative nature of the ELO’s definition of electronic-literature and the critical tendencies which this encourages. It has a strong focus on those critics who identify the forms which electronic literature has taken as an extension of modernist experimentation in the Twentieth Century, while disregarding the new possibilities which programmable media furnishes the poet with.
These possibilities are manifest in Niemi’s Stud Poetry, a text which has been consistently overlooked since its publication, perhaps because it presents a challenge to the dominant critical trends. Stud Poetry cannot fully be understood in terms of print-based modernist experimentation, Dada or Burroughs, because it would be impossible to achieve without a computer program. Niemi wrote the code which ‘writes’ each poem/game.
Jill Walker Rettberg - 23.08.2013 - 12:24
