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1. Is There a Message in the Medium? The Materiality of Language

   The initial argument of this essay is absurdly simple, obvious, literal: language must be embodied and thus its particular medium is—literally, ontologically—the matter, the flesh, the materiality of any message that it articulates. Marshall McLuhan urged us to recognize that media signify, that the matter in which the message is embodied also traces differences that were already what we have come to call ‘writing’ in a poststructuralist, Derridean sense: grammatological practices. However, McLuhan’s copula was not ontological. It expressed a concern that these other, parallel messages were more significant than any linguistic message they embodied. This same anxiety has reached a kind of apotheosis in recent criticism of digital literature—from Christopher Funkhouser and Roberto Simanowski—revenant as no less than our ancient fear of cannibalism. The message of the medium literally consumes the materiality of language: its own body, flesh of its flesh. But this cannibalism would only be literal—and thus taboo, thus truly terrifying—if McLuhan’s copula were ontological.

   Eric Dean Rasmussen - 30.08.2011 - 12:34

2. From ‘words, words, words’ to ‘birds, birds, birds’: Literature between the representation and the presentation

   From ‘words, words, words’ to ‘birds, birds, birds’: Literature between the representation and the presentation

   Eric Dean Rasmussen - 01.09.2011 - 10:57

3. Apenas estas palavras mutantes

   Apenas estas palavras mutantes

   Rui Torres - 04.12.2011 - 17:59

4. Computerpoesie: Studien zur Modifikation poetischer Texte durch den Computer

   The conception and realisation of computerised poetry is based on a computer’s inherent qualities and characteristics. Resulting works are hybrid, multimedia and interactive texts comprising typeface, image and sound; they can neither be printed on paper nor viewed without a computer, or to be more precise, an electronic apparatus (holography, monitor, virtual reality). This study explores the historical origins of electronic poetry and, on the basis of the switch from paper to computer, analyses the significance these fundamental shifts have had on the aesthetic interaction of language and text: Typeface starts to move and in this way challenges the poetic production and our perception. (Source: http://www.saskia-reither.de/?p=374&lang=en)

   Jörgen Schäfer - 06.03.2012 - 13:44

5. Primal Affective Ground and Digital Poetry

   Since the first symbolic scripts emerged, language has always been visual. My own work explores how language's visual can be read both as art and as poetry; how affect is amplified by sound; how generative and combinatorial layouts of text-video-sound open art from linear readings into infinite variations perspectives.
   For ELO, I am interested in creating an artist talk that utilizes content derived from two essays on digital poetry written for my comprehensive exams in the summer of 2009. The original essays are entitled: "Affecting Language: interdisciplinary explorations of emotion (new media, neuroscience, phenomenology and poetry)" and "Defining Creative Conduits: mediations on writing in digital media". Since both essays (as take-home exams) were each written over a brief 72 hour span, I look fwd to the opportunity of synthesizing and refining their argument into a presentation format.
   (Source: Author proposal)

   Eric Dean Rasmussen - 20.03.2012 - 12:42

6. Sound Rites: Relationships Between Words and Sound in New Media Writing

   While discussion of the relationship of image and word has been prominent in the discourses
   surrounding new media writing, the role of sound is rarely addressed in this context, even
   though words are sounds and sounds are a major component of multimedia. This paper
   explores possibilities for new theoretical frameworks in this area, drawing on musico-literary
   discourse, intermedia theory and inter-cultural theory, and using ideas about semiotic and cultural exchange as a basis.

   Eric Dean Rasmussen - 14.06.2012 - 15:17

7. Aya Karpinska and Daniel C. Howe

   This case study was originally prepared for, but does not appear in, New Directions in Digital Poetry (New York: Continuum, 2012); see http://newdirectionsindigitalpoetry.net

   Source: footnote 2 to the article

   Patricia Tomaszek - 06.09.2012 - 22:54

8. See Spot Link. Link, Spot, Link: How to read and appreciate electronic literature (Workshop)

   Abstract
   What is the difference between reading on screen and reading electronic literature? Between an e-book and an e-lit piece? Electronic literature, or eliterature, uses computer technology as an integral part of the work to convey meaning. Find out about the literary art of links, images, sounds, and motions. Make connections between images and text, between sounds and words, between motions and implications. Uncover an exciting new world where writers expand beyond the page and embrace the screen with an array of new literary techniques.

   Agenda
   This workshop will cover 4 basic elements of electronic literature: links, imagery, motion, and sound. For each element, we will read a portion of works to see these elements in action, take part in an exercise to explore writing using these elements, and discuss techniques to recognize and understand these elements.

   Scott Rettberg - 07.01.2013 - 15:41

9. From Audio Black to Artful Noises: Looking at Sound in Electronic Literature

   The interplay between sound and image was a vexed issue for practioners and critics of the 20th century art screen art. As the story goes, some argued for a "complex interaction of sound with image" (Kahn 142) others for the political necessity of non-synchronized sound. Early on, "the dream" of "correlating sound and image" through localization (Altman) to deploy sound so as "to reinforce the reality effect" and to "induce[...] spectators to center their gaze." (Polet). There is a sense of disappointment in this trajectory, from the "talkie"to Dolby Surround, by which the sound track comes to maintenance of an illusionistic 3-dimensional visual space. 

   Scott Rettberg - 08.01.2013 - 11:36

10. (R)Evolutionary Communication: Defining and Refining Digital Literature, Art and Storytelling

    As an educator as well as Director of Digital Media Studies at the University of Detroit Mercy, my pedagogical and personal interests lie in how to use media to incorporate inter-disciplinary studies; to use sound, images as well as visual and narrative compositions to communicate multi-dimensional ideas, passions and concepts. In relation to this inter-disciplinary approach, I incorporate the concept of "mixing" to weave together space, design, technology, story-telling and critical discourse. One of the concepts I try to reinforce is that 'space' includes the psychological as well as the physical. In addition, I teach digital media students that "design" is the intentional approach to choreograph the experiential and that digital technology is a tool for exploring these ideas. Accepting this, I challenge the students to consider: how does the user/viewer experience and process the interaction between digital media and the "narrative" of the everyday? 

    Scott Rettberg - 09.01.2013 - 14:35

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