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The Postulate to Hyperdescribe the World: Film Poems by Katarzyna Gie łż y ń ska
The film-poem emerges from the crossroads of literature, film and animation. Giełżyńska's works appear as ironic, personal, cross-medial statements. The Polish author sets herself an ambitious task: "to play at the world's own game" by describing it in a fast-paced, polimedial, synesthetic way. Resembling "animated posters", the film-poems reflect the condition of the contemporary artist and her cultural, linguistic and technological context and try to redefine the answers to the old question: how to describe the world? who is the author? what is the difference between the human and non-human? The message carried by the film-poems is quite universal, if not global, hence the decision to translate them into English
(Source: ELO 2014 conference.)
Scott Rettberg - 19.06.2014 - 03:28
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OccupyMLA’s Hidden Archive
Part protest novel, part guerilla theater, @OccupyMLA played out on the crowded virtual street corners of Twitter hashtags #mla and #omla for fifteen months before being revealed a as "fiction" at the 2013 MLA e-literature reading. Nineteenth- and twentieth-century protest fiction changed attitudes about slavery and industrial excess; @OccupyMLA charged #MLA members (and hashtag lurkers) to feel angry about dehumanizing adjunct working conditions built upon the "innocent dream" that Ph.D.s in literature could get paid to teach literature.
In a climate of "DH niceness," to dwell on adjuncting as a broken promise was agit-prop. Real life participants added their own anecdotes and Tweeted sympathy to Hazel, comingling "fiction" and "nonfiction" in an eerie, Barthesian "Reality Effect." The Netprov's melodrama and anger were deliberately out of sync with the positivistic #MLA discourse community. "Here's where #omla is correct," opined George Williams in a retweeted pair of Tweets, "conditions for contingent labor in higher ed are abomidable. But making the MLA the target of your ire and your movement is not going to get you very far. + #omla #imho."
Alvaro Seica - 19.06.2014 - 16:16
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“Coat and Uncoat!”: The My Book of GHcoats Project and Implications for Conceptual Writing
Using the internet and social media for that matter to create literature is a relatively new and burgeoning phenomenon in Sub-Saharan Africa, complementing more common uses such as political activism, economic opportunity and social networking. In November 2013, some Ghanaians on Facebook started a trend where fictional quotes were intentionally misattributed to famous people. This humorous trend went viral as many users created variations while others also shared and commented on these posts. The project evolved through multiple stages and eventually ended in the publication of an e-book entitled My Book of GHcoats which contained submissions from many Facebook users. The nature of the evolution thus positions My Book of GHcoats in the realm of conceptual writing.
Alvaro Seica - 19.06.2014 - 16:24
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Privacy Through Visibility: Disrupting NSA Surveillance With Algorithmically Generated "Scary" Stories
Computational artists engage the politics of networked communication through code. By
creating net art, hacktivist projects, and "tactical media," artists illuminate the dark sides of
networks, challenge the notion of the network as a liberating force, and propose mechanisms
for tweaking the "evil media" these networks facilitate. A primary example of network-based
politics is the US National Security Agency's (NSA) email surveillance efforts recently revealed
by Edward Snowden. Using systems to examine our text-based digital communications, the
NSA algorithimically collects and searches everything we write and send in a futile effort to
predict behaviors based on words in emails. Large collections of words have thus become
codified as something to fear, as an indicator of intent. This presentation will explore the
methods of artists who engage the politics of digital surveillance using algorithmically
generated language, and will explore the question of whether computationally produced text
can combat computational text analysis. A focus will be the author's project ScareMail,Alvaro Seica - 19.06.2014 - 16:35
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Gaming the City: Telephone City and Social Spaces of Transformation
In pervasive gaming, the city is transformed into a platform for public storytelling and play. In this paper I will address the potentialities and challenges inherent in devising a city-specific pervasive narrative. Play is the ultimate learning tool for humans, so much so that researchers see “play as essential not just to individual development, but to humanity’s unusual ability to inhabit, exploit and change the environment” (Dobbs). One of games’ most intoxicating aspects is their pervasive nature.
Alvaro Seica - 19.06.2014 - 16:41
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A manifesto supporting a creative digital literature
L’école comme l’université ont trop long- temps asservi l’écriture au seul dogme de l’accès aux savoirs et à l’injonction de la communication.
Elles l’ont cantonnée à un rôle instrumental, en marge du sillage du capitalisme cognitif (Yann Moulier Boutang), à travers des modes de production industrielle des connaissances, la vidant peu à peu de ses dimensions artistiques, esthétiques et politiques (Luc Dall’Armellina, a).
La situation est telle aujourd’hui qu’écrire n’est plus pour la plupart des élèves et étudiants qu’un passage obligé, une compétence parmi d’autres, une technique qu’il faut bien manipuler puisqu’elle est nécessaire pour réussir à l’école, quelle que soit sa discipline.
Scott Rettberg - 19.06.2014 - 20:27
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The danger of a simple story
This presentation uses Chimamanda Adichie’s lecture The Danger of Single Story as a starting point to discuss how new media technologies can be used to counteract the simplistic narratives typically assigned to marginalized communities and allow for a more nuanced depiction. By examining two of the presenter’s multiformat, multi-year, transmedia documentary projects: Closer: A Journey with Charles and Punk Rock Mommy: Ephemeral the question of complexity versus economy will be addressed. The discussion will address: creative process, strategies for shared authorship that provide the subject with agency, justification for the technological variety, and respond to the challenges of this approach. With multiple channels containing varied information some viewers/readers/participants become disinterested where others find themselves immersed in the narrative. Mainstream audiences sometimes prefer the minimal investment required by a narrative where the text clearly states how one should feel about a subject.
Scott Rettberg - 19.06.2014 - 20:30
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Visualizing la(e)ng(-u-)age
Electronic literature not only engages “new media” elements (such as links, navigation, structure, animation, color, images, sound, computer programming) but also toys with the very foundation of literature—the language itself. After 20 years, we need to look back to remind people about these en(gag)(-tangl-)ements. As language is rapidly shifting with new te(xt )chnologies, we need to look ahead to see where electronic literature can engage with these emerging forms of language.
First, I will briefly present previous works to provide a history of electronic literature’s engagement with language. I will cover:
Character-augmented languages such as:
· Talan Memmott’s Lexia to Perplexia and Mez’ mezzangle (languages using regular fonts which add or subtract characters to words to create other words, usually employing parentheses)
· My work-in-progress Chronic (a handwritten language which adds or subtracts letters in a similar manner but employing upper characters to add letters and overbars to subtract letters)
Visual languages such as:
Scott Rettberg - 19.06.2014 - 20:31
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Postcommunist E-lit
Lenin proclaimed that communism is the soviets at power plus electrification of the whole country. Constructivists, starting with A. Gan (1912) were advocating mechanical approach to creation in accordance with the communist ideology of anti-elitist art for people. Velimir Khlebnikov and Roman Jakobson demonstrated the tools for poetic demontage of the language. Later on the years of inventive underground samizdat publishing and circulation practice provided for wider understanding of textual materialities. Despite the rich technological and poetic experimentation history, the emergence of neteratura (net literature), or cyberature (cyberliterature) took place only in the 1990s under the influence from the States. Runet (Russian language segment of the Internet), although its first very few users were singular scientists in the 1980s, started publicly as a literary phenomenon with Dmitry Manin's Bout Rimes (1995) and Roman Leibov's ROMAN (1995), Zhurnal.ru, and Moshkov Library.
(Source: Authors Abstract)
Scott Rettberg - 19.06.2014 - 20:43
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The formation of the field of electronic literature in Poland
Polish electronic literature developed in parallel to similar work in Western Europe and the United States. The difference was context – the first Polish digital literary experiments appeared during the heyday of communism in the 1970s. The Polish author Robert Szczerbowski came up with his untitled hypertext about the same time Michael Joyce wrote afternoon. a story – just a few years after the end of martial law in Poland. As the first literary works on floppy discs appeared at the beginning of the 1990s, Polish society was in the midst of a profound political transformation which began in 1989. These political events coincided with the development of technology, which influenced the fields of literature and art. Because of the Iron Curtain, the country’s isolation and its artists lack of deeper contacts with their Western counterparts, the status of literature was constructed differently, with its impact and obligations defined by ethics rather than aesthetics.
Scott Rettberg - 19.06.2014 - 20:45
