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1. 'The frame of the sparkling graphics': the window and the screen in contemporary Irish poetry

   This conference paper discusses the visual tropes of the window and the screen in the work of Derek Mahon and Alan Gillis. More specifically, the focus is on how the architectural window and the digital screen operate as framing devices in their works, and how they enable the poets to interrogate the interrelationship between poetry as verbal discourse, and visual representation. The shift from the architectural window to a digital window on the screen also marks a shift in understanding questions of viewpoint and perspective in contemporary culture.

   Anne Karhio - 05.03.2015 - 18:01

2. A Handmade Web

   I made my first web-based art work in 1995. It’s still online, it still works. The internet has changed a lot since then, but the DIY aesthetics and practices of that era have by no means disappeared. In today’s highly commercialised web of proprietary applications, Content Management Systems, WYSIWYG editors, and digital publishers, it becomes an increasingly radical act to hand-code and self-publish experimental web art and writing projects. Drawing upon Olia Lialina’s essay “A Vernacular Web” (2010), this paper makes correlations between the early ‘amateur’ web and today’s maker and open source movements. Examples of the persistence of Web 1.0 are presented, from the massive Ubu Web site which its founder boasts, ‘is still hand-coded in html 1.0 in bbedit, from templates made in 1996,’ to the tiny anti-social network TILDE.CLUB, where small experimental websites are hosted on one ‘totally standard unix computer.’ In addition to the slow writing of the web through hand coding, the practice of appropriating existing source code is discussed in relation to Nick Montfort’s Taroko Gorge (2008), which has been remixed dozens of times.

   J. R. Carpenter - 10.05.2015 - 12:21

3. Digital Literature as a Social Hermeneutic Dispositif: The case of the GeoNeoLogical Novel

   This paper argues that digital literature can be understood as a social hermeneutic dispositif. To demonstrate this thesis, an experimental book is presented. It is written/read using a geo-tagging software, that restitutes, to the reader acting as a co-author in a Web 2.0/3.0 context, the combination of significant (semantic) keywords (or tags) with a given city place and with a certain social temporality. The novel’s title is based in the philosophical idea of deixis, i.e., the articulation of space (geo), time (neo) and logos (discourse, reason). In the interface, the fictional text presents, at each scene, 3 writing/reading itineraries, each one using a specific literary medium/language, referring, in a greater or lesser extent, to dimensions ‘space’, ‘time’ and ‘logos’. A first text has linguistic nature and was deconstructed into several sub-texts types: narrative (mention of major events), dialogic (characters dialogues) and meta-informative (keywords, tags). A second ‘text’ uses visual language inherent to characters and scenery photos (space or synchronic level) subjacent to the novel’s scenes (time or diachronic level).

   Alvaro Seica - 15.05.2015 - 14:02

4. Uncreative Writing: Polish Experimental Literature in the Digital Age

   Uncreative writing is a technique of writing which employs strategies of appropriation, replication, piracy, plagiarism, djing and sampling. The term was put forward by Kenneth Goldsmith in his book Uncreative Writing: Managing Language in the Digital Age (2011). The goal of the paper is the application of Goldsmith’s tools to uncreative form of writing in contemporary Polish literature in the Digital Age. Projects by authors such as Jarosław Lipszyc, Piotr Siwecki and Sławomir Shuty will be analyzed. The uncreative attitudes using digital tools should be viewed as strategies of “standing out” in the field of culture production, leading to a victory in the fight for dominance in the symbolic sphere. The subversive strategies are a very dynamic field in the battle between the avant-garde artists and the traditional methods of consecration. At stake here is not only a change of aesthetics and poetics, but attacking the basic indicators of the market, such as the quantity of circulation, a radical approach to copyright, objection to paper editions.

   (Source: ELD 2015)

   Alvaro Seica - 15.05.2015 - 14:04

5. Performative Modelling of Digital Literature

   This paper starts with a consideration of Jakobson’s model of communication and argues in favour of a more pragmatic version of this as articulated by Jean-Jacques Lecercle. His model introduces the notion of interpellation whereby the text calls the figure of author and reader into subject positions. For our purposes however, this pragmatic model doesn’t account for the presence/function of the machine, vital to any model of digital literature. One way of dealing with this is to posit a second communication layer, an identically shaped model of digital elements laid over the top of Lecercle’s. This raises the question of the connection between the two planes? The answer offered here is ‘performativity’. To develop this further, the language positions of the two models are used as an example, i.e. how are the language of the text and the language of the machine linked through performativity? To answer this question, the paper exploits certain conceptual tools, starting with integrational linguistics. This argues that in natural language, meaning is determined by the performance of communication in specific contexts.

   Alvaro Seica - 15.05.2015 - 14:09

6. Digital Poetry and Meta-Discourse: A Network of Self-References?

   This paper spins from an analysis of several works of critical writing in the field of digital poetry, which have been documented at the ELMCIP Knowledge Base (http://elmcip.net).
   

   Alvaro Seica - 16.05.2015 - 22:06

7. "Jailbreaking the Global Mnemotechnical System: Electropoetics as Resistance"

   This paper will explore subversive practices of electronic literature as contexts for the experience of agency within various systems of control. Through close readings of covert communication practices in prison narratives alongside the works like Rob Wittig’s Netprovs, Richard Holeton’s slideshow narratives, Nick Montfort’s !#, and Darius Kazemi’s “Tiny Subversions,” this essay will consider poetic interventions against media culture, professionalization, and cybernetic systems in relation to the codes, mnemonic devices, and flights of fancy used by political prisoners and POWs to maintain identity against isolation, torture, and manipulation. In particular, this paper will touch down on the question of “the ends of electronic literature” by exploring the interrelational aspect of writing as a process that is primarily concerned with the creator imagining an other (an “author” reaching out to a “reader,” in the conventional literary sense) and the user finding meaning in the text (the reader having an encounter with the work of literature).

   Xiana Sotelo Garcia - 04.08.2015 - 12:19

8. The Digital Diasthima: Time-Lapse Reading as Critical and Creative Performance

   In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following upon methods taken from other areas, e.g. time-lapse photography and R.

   Alvaro Seica - 03.09.2015 - 20:26

9. The Digital Diasthima: Time-Lapse Reading Digital Poetry

   In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following upon methods taken from other areas, e.g. time-lapse photography and R.

   Alvaro Seica - 03.09.2015 - 22:02

10. History of Digital Poetry in France

    This two-part workshop led by Philippe Bootz and Johnathan Baillehache will focus on the history and documentation of French Digital Poetry.

    Morning session: History of French digital poetry since Calliope (1952) until Transitoire Observable (2003). Lecture and discussion led by Bootz.
    Afternoon session: Documenting French digital poetry in ELMCIP French Language Electronic Literature research collection.

    Participants will first encounter some of the history of French digital poetry and view and interact with some early works. In the afternoon, participants will work together to document this history and these works in the ELMCIP Knowledge Base in a workshop led by Baillehache, who has been developing a research collection on the topic with students at Georgia University.

    (source: ELO 2015 catalog)

    Hannah Ackermans - 29.10.2015 - 15:09

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