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1. Digital Media

   The chapter takes readers through a semester of teaching narrative-based electronic literature works, including interactive fiction, storyspace hypertexts, web hypertexts, email fiction and interactive web-based narratives.

   Scott Rettberg - 13.01.2011 - 15:24

2. Digital Poetry Beyond the Metaphysics of 'Projective Saying'

   Digital Poetry Beyond the Metaphysics of 'Projective Saying'

   Eric Dean Rasmussen - 23.03.2011 - 14:01

3. Når litteratur går fra papir til skjerm

   Når litteratur går fra papir til skjerm

   Jill Walker Rettberg - 27.03.2011 - 13:56

4. In Search for the Novel Possibilities of Text-Based Installations: Teaching Digital Literature within New Media Studies in Slovenia

   In Search for the Novel Possibilities of Text-Based Installations: Teaching Digital Literature within New Media Studies in Slovenia

   Eric Dean Rasmussen - 07.04.2011 - 12:32

5. Teaching Digital Literature through Multi-Layered Analysis

   Teaching Digital Literature through Multi-Layered Analysis

   Eric Dean Rasmussen - 07.04.2011 - 12:34

6. RFID: Human Agency and Meaning in Information-Intensive Environments

   The chapter focuses on the impact of so-called “ubiquitous computing” on human cognition. She analyzes the consequences of “reality mining” by RFID (radio frequency identification) tags that are currently being embedded in product labels, clothing, credit cards, and the environment. The amount of information accessible through and generated by RFIDs is so vast that it may well overwhelm all existing data sources and become, from the viewpoint of human time limitations, essentially infinite. Hayles argues for understanding the constitution of meaning as a “multi-layered distributed activity,” as a result of “context-specific processes of interpretation that occur both within and between human and non-human cognizers.”

   (Source: Beyond the Screen introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 11:03

7. Epistemology of Disruptions: Thoughts on the Operative Logic of Media Semantics

   Jäger’s essay, going beyond the idea that transcription is a fundamental procedure of cultural semantics, reveals some of the principles that underlie the practices of cultural reconceptualizations attempting to show that and how they are characterized by an epistemology of disruptions.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 11:14

8. From Revisi(tati)on to Retro-Intentionalization

   From the article: Since its inception in the late 1980s, digital literature has come a long way. It has seen groundbreaking technological changes and advances, which have taken it from a largely script-based, off-line medium to a prolific multimedia, interactive and ludic form of verbal and artistic expression, which is making use of a variety of online and offline forms of communication and representation. By the same token, genre boundaries are increasingly blurring between literature, art, digital film, photography, animation, and video game. That said, I contend that we can only use the term “digital literature” if and when the reception process is guided if not dominated by “literary” means, i.e. by written or orally narrated language rather than sequence

   Patricia Tomaszek - 15.06.2011 - 19:00

9. Verteiltes literarisches Handeln: Vorüberlegungen zu einer Theorie der Literatur in computerbasierten Medien

   Verteiltes literarisches Handeln: Vorüberlegungen zu einer Theorie der Literatur in computerbasierten Medien

   Jörgen Schäfer - 28.06.2011 - 14:22

10. Digital Literature—A Question of Style

    For some time, critics tried to circumscribe the “novelty” of digital literature in rather generalist terms, either taking into account its relation to literary avant-gardes or focalizing on its technical features; these theoretical approaches were often blind to contents. Now that digital literature seems more and more aesthetically convincing, the time has come to define its stylistic features with more precision. In order to circumscribe the poetics of interaction, some authors tested the validity of the classical figures of style. It is, however, probably dangerous to use classical rhetorical terms intended to characterize textual phenomena, whereas the signs of digital text almost constantly refer to different semiotic systems (including the visual one). In the following pages of this article, I will sometimes continue to borrow from conventional taxonomies to describe the stylistic devices of digital literature, and I will try in other cases to invent a new terminology in order to avoid foolhardy analogies.

    Alexandra Saemmer - 03.07.2011 - 16:37

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