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1. Corpus et interfaces: comment penser le partage du sens

   Cet article présente la plateforme #Idéo2017 (http://ideo2017.ensea.fr/plateforme/), qui répond au besoin sociétal d’une meilleure compréhension des événements sociaux, politiques, culturels. Les réseaux sociaux font de plus en plus partie du quotidien, notamment en ce qui concerne la « consommation » de l’information (Mercier, 2014). Le service de microblogging Twitter peut être considéré comme un indicateur pour connaître les réactions de ses utilisateurs sur des sujets sociaux (Longhi et Saigh, 2016 à sur la réforme du statut des intermittents), politiques (Longhi, 2014 ; Conover et al., 2011), économiques, etc. Par conséquent, on peut utiliser ces données textuelles pour extraire les émotions, les sentiments, les opinions, des utilisateurs (Kristen et Dan, 2016). Si des travaux universitaires ou industriels existent, les résultats sont difficilement accessibles pour les citoyens intéressés par ce thème.

   Amirah Mahomed - 29.08.2018 - 15:33

2. Translating Electronic Literature: A Few Conclusion, Methodologies and Insights

   Over a year and a half ago, a group of scholars, programmers, artists and translators started working on a research project focusing on the translation of various works of electronic literature, ranging from e-poetry (Maria Mencia’s The Poem That Crossed the Atlantic), digital database (Luís Lucas Pereira’s Machines of Disquiet), installation (Søren Pold et al’s The Poetry Machine), digital aurature (digital language art in programmable aurality) (John Cayley’s The Listeners) and hyperfiction (Michael Joyce’s afternoon, a story). In order to identify common and divergent issues depending on the genres, formats and languages of the works under study, they were all examined through the prism of the following concepts: Translinguistic translation (translation between languages), Transcoding (translation between machine-readable codes and between machine-readable codes and human-readable text), Transmedial translation (translation between medial modalities), and Transcreation (translation as a shared creative practice).

   Kamilla Idrisova - 05.09.2018 - 15:58

3. Electronic literature in post-communism. The Romanian case

   The focus of my paper is to bring forward some information regarding the development of the electronic literature in an ex-communist country, Romania, at a certain, representative moment: after four decades of communism and almost thirty years of democracy and free book market. 

   In the first part, the main purpose is to explain how the Romanian writers’ literature was affected over the last decade of communism: on the one hand, the technological deficiency, which made difficult, almost impossible for the Romanian writers to investigate new digital creative writing formulas, and, on the other hand – and the most important one – the excessive political control of Ceaușescu’s regime that cut off absolutely the contact with the international literature. 

   In my thesis I will try to lay out how the literary scene has been working during the last thirty years: the recovery of the freedom and the reconnection of the Romanian writers to the international literary world, with an emphasis on the process of linking of the Romanian writers to the experimental-technological sphere of fiction in the universal field. 

   Miriam Takvam - 12.09.2018 - 14:39

4. The Mathematical Movement of Girl Clusters: How Fandom Manifests Physical Intimacy in the Digital Age

   Fan–idol relationships are shown to be based on emotions and to go beyond mere identification to include parasocial relationships and neo-religiosity. Results thus confirm the theoretical paradox between the television industry’s promotion of celebrity to attract loyal audiences and the rejection of fandom through a carefully constructed representation hereof as ‘freaky business’. How could a virtual girl, customized by hundreds of disparate fans across Japan, and quickly the world, come to have a singular persona? Easy, fans of Miku drew from an existing culture around adorable young pop stars to script a subjectivity for the drawing. Pulling from tropes in anime and manga, Miku was assimilated into a growing culture that celebrates fantasies of girlhood. Using social media and live-streaming services, many young girls in Japan are using performative techniques modelled in Anime shows to be signed by music producers and develop lucrative careers as entertainers. Not quite musicians, not actresses, and too invested in the affect of cuteness to be professionals, these young girls are called “idols”. 

   Carlos Muñoz - 12.09.2018 - 15:53