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1. The Problematic of Form: Transitoire Observable. A Laboratory for Emergent Programmed Art

   The Problematic of Form: Transitoire Observable. A Laboratory for Emergent Programmed Art

   Jörgen Schäfer - 12.11.2012 - 11:10

2. Principles and Processes of Generative Literature: Questions to Literature

   Generative literature, defined as the production of ever changing literary texts my means of a specific dictionary, some set of rules and the use of algorithms, is a very specific form of digital literature which is completely renewing most of the concepts of the classical literature. Texts being produced by a computer and not written by an author, require indeed very special way of engrammation and, in consequence, point also to specific way of reading particularly concerning all the aspects of the literary time. In my speech, I will try to present some of the characteristics of the generative texts and their consequences on the conception of literature itself.
   I call «engrammation» the adaptation of expression wills to the technical constraints of the medium used for its mediatisation. For instance, a book needs a fixed writing, and the mediatisation by means of a screen needs other modalities of presentation.

   Jörgen Schäfer - 12.11.2012 - 11:11

3. Code, Cod, Ode: Poetic Language & Programming

   Code, Cod, Ode: Poetic Language & Programming

   Jörgen Schäfer - 12.11.2012 - 11:13

4. E-Learning and Literary Studies: Towards a New Culture of Teaching?

   The introduction of digital technologies in the learning processes has meant the creation of new educational spaces that, when they take place in Internet and are founded in non- presenciality and asynchrony, are known as VLE (Virtual Learning Environments). VLE constitute new pedagogic realities that must answer to the users’ needs, their educational purposes, the curricula with which they work and, specifically, the formative needs for the people that integrate them. But the key to define “virtual” in terms of human experience and not in terms of technological hardware is the concept of “presence” (Varis, 2000), which is crucial in our pedagogical model and our way of being comparative literature lecturers in a virtual university.

   Jörgen Schäfer - 12.11.2012 - 11:16

5. Narrative Archaeology and the New Narrativology

   To reconsider narrative and its relationship to new media one must look at the spatial possibilities and rich subtext already present in the cities and roads away from hypertext and screen specific data forms. The majority of work dealing with gps is emphasizing the leaving of traces, of another layer to enhance. This misses a huge area of potential. The city spaces can now be "read" in all the layers of architecture, ethnography, layers of land usage, and the narratives of people lost in time. Writing can become one of a story space constructed of fictive detail to establish story space AND the details of the steets and buildings themselves and their details (much of which is unkown to most who pass them). Juxtaposition, experiential metaphor, a sense of not V.R with one still in one world in active in another as story space, but active in both. The new writing form creates a new sense of detail and metaphor as well as of process itself, with many exciting new possibilities.

   (Source: Author's abstract, Incubation3 conference, trAce Archive)

   Scott Rettberg - 19.01.2013 - 23:39

6. Would you let Mikhail Bakhtin smoke your text? : Dialogism and the Participative Rhetoric of Computer-mediated textual art

   In Stewart's presentation he will set out his theoretical understanding of computer-mediated textuality (an understanding that is derived from the dialogic philosophy of language described by Mikhail Bakhtin and others).

   In particular, he will report on how his research has identified a number of different rhetorical practices used by contemporary author-participants of computer-mediated textual art that focus on making readers actively aware of their participation in the work. He has classified these forms of rhetoric in the following ways:- 
   1. Active Participation of the Reader-Participant through Selection; 
   2. Active Participation of the Reader-Participant through Contribution; and
   3. Participation of the Reader-Participant by their Presence;

   Stewart will illustrate these three types of rhetoric, by drawing examples in the recent work of Simon Biggs, Talan Memmott, and Alan Sondheim, as well as from his own work 'gas' (developed at Textlab 2003).

   He will conclude by noting that a dialogic understanding of computer-mediated textuality flags up the significant cultural value of these works.

   Scott Rettberg - 19.01.2013 - 23:52

7. Towards a Poetics of Multi-Channel Storytelling

   In 2001 Henry Jenkins discussed the growing prevalence of ‘transmedia storytelling’. Transmedia storytelling is, simply put, franchises: a movie is followed by a game, then perhaps a comic, website and so on. An example is the Wachowski brother’s Matrix franchise. For Jenkins each media, each channel, communicates different aspects of a storyworld. Since 2003 Jane McGonigal, and others, have been researching the phenomenological and social aspects of ‘alternate reality gaming’. Alternate reality gaming requires players to traverse websites, games, public play, SMS and so on. Microsoft’s The Beast was the first of such ‘games’ that required participation with websites, posters, faxes, hacking, chatbots and Spielberg’s film AI (McGonigal, 2003).
   Academic research into multi-channel storytelling is at present approached from the media studies and phenomenological perspective. As yet no poetics to address transmedia, alternate reality gaming, cross- or multi-platform and cross-media of content have been proposed in academia; in addition no poetics has been invented for multi- channel single-story creation (that is: one story told over multiple media).
   

   Jill Walker Rettberg - 12.06.2013 - 15:10

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