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1. Teaching Digital Literature within a “Research and Teaching Partnership” in a Transatlantic Blended Learning Environment (ELMCIP Anthology)

   This is an updated, edited version of the conference paper presented in 2008.

   The paper outlines the practices of teaching digital literature at the University of Siegen in Germany where Peter Gendolla and Joergen Schaefer taught courses on literature in computer-based media for students of both Literary and Media Studies. This paper thus provides an historical synopsis of the didactical transformations the teaching practices have undergone as well as an overview of the University’s profile and its focus on research and teaching literary studies. In 2007, the classroom moved online and held a class transatlantically in cooperation with Roberto Simanowski (Brown University/Providence, RI, USA). The online course approached an experimental Blended Learning concept. The paper introduces the methodological concept of the class “Digital Aesthetics” and discusses using Online Communication Systems in the context of the course of studies: Net Literature.

   Source: Author's Abstract

   Patricia Tomaszek - 05.11.2013 - 15:54

2. The Ill-Tempered Rubyist

   The Ill-Tempered Rubyist: a hasty mini-anthology of coded poetics and poetic codes is an international print anthology of poems involving computer languages, especially the RUBY language, hand-made and edited by Karen Randall in honor of the Millay Colony‘s ruby anniversary. The cover collage was created in PhotoShop, then transferred to polymer, and printed by letterpress. The text is printed on Reich inkjet paper using an Epson Stylus Pro 3800 printer. The volume is bound using the Japanese side-slab method. The finished book is housed in a clamshell case covered in red cloth.

   J. R. Carpenter - 31.05.2014 - 11:35

3. Collaboration and authority in electronic literature

   This paper explores collaborative processes in electronic literature. Specifically, it examines writer authority as it applies to text, code, and other media. By drawing from cinematic auteur theory, Mitchell’s Picture Theory (1994), Said’s Beginnings: Intention and Method (1975), Cayley’s Grammalepsy (2018), and Flores’s (2019) generational approach to digital literature, this paper highlights unique issues that arise in the creative collaborative production of digital literary works, and the influence these processes have on how these works are ‘read’. The creative processes employed in Montfort, Rettberg, and Carpenter’s respective Taroko Gorge, Tokyo Garage, and Gorge (2009), Jhave’s ReRites (2017–2018), and Luers, Smith, and Dean’s novelling (2016)), as well as reflections on the author’s own collaborative creative experiences (Paige and Powe (2017) with Lowry and Lane, Little Emperor Syndrome (2018) with Arnold, and V[R]erses (2019–) with Breeze) are explored in detail.

   David Wright - 11.11.2020 - 02:59

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