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1. How We Read: Close, Hyper, Machine

   Article abstract required.

   Guest lecture at Duquesne University.

   Scott Rettberg - 21.03.2011 - 23:40

2. Screening the Page/Paging the Screen: Digital Poetics and the Differential Text

   Screening the Page/Paging the Screen: Digital Poetics and the Differential Text

   Eric Dean Rasmussen - 30.05.2011 - 14:33

3. Code, Interpretation, Avant-garde

   Code, Interpretation, Avant-garde

   Eric Dean Rasmussen - 29.08.2011 - 17:14

4. Technologies That Describe: Data Visualization and Contemporary Fiction

   [insert abstract here]

   (Source: author's abstract)

   Presented on Saturday, 7 January at the 2012 MLA Convention, panel 442, "New Media, New Pedagogies," arragned by the Division of Prose Fiction. Other panelists included John David Zuern, Jay Clayton, and the moderator, Rebecca L. Walkowitz.

   Eric Dean Rasmussen - 19.01.2012 - 10:56

5. Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

   Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

   Patricia Tomaszek - 13.02.2012 - 00:53

6. Thirteen Ways of Looking at a Blackbird

   Thirteen Ways of Looking at a Blackbird

   Scott Rettberg - 08.01.2013 - 21:07

7. Scripts for Infinite Readings

   Material representations and simulations of reading motions can be embodied and enacted through expressive uses of formal devices in programmable works. These interactions between reading self and embodied codes are reflexively choreographed in ways that illuminate the performativity of cognition and interpretation. Meaning production through acts of reading that become scripted in the textual field will be analyzed in 'The Readers Project' by John Cayley and Daniel Howe.

   Scott Rettberg - 06.09.2013 - 11:53

8. One + One = Zero – Vanishing Text in Electronic Literature

   The concept of “erased” text has been a recurrent theme in postmodernist criticism. While most speculation about the presence or absence of an absolute text is applied to print literature, the manifestations of digital text present a new and entirely separate level of investigation.
The combination of visible language and hidden code do not negate the basic questions of language and interpretation – these continue to be important in our study of electronic texts. However, the visible text – under the influence of code – can be modified, transformed, and even deleted in ways that introduce markedly different implications for reading strategies and meaning structures.
This paper will explore a selection of works from electronic writers illustrating text/code practices that involve disappearing “text.” Text can absent itself by the simplest of reader actions – the mouseover or the link which takes the reader to another “lexia” in the piece. But text can also be obliterated by actions of the code, unassisted by the reader/navigator. Moreover, there are intermediate techniques to create vanishing text.

   Alvaro Seica - 04.10.2013 - 11:37

9. Les Mots et les Images

   Les Mots et les Images is a work by J.-M Dutey published in alire 5 in 1991. At first, one encounters a table that is divided in 21 smaller boxes. Here, there is a spatial idea that is introduced which Dutey wished to explore as seen in a quote from the work itself, “(Dutey) voudrait que sa poésie explore les espaces qu’elle occupe et ceux qu’elle suggère.” This quote expresses an exploratory desire because one has to click on the words on the screen to begin the program. If one chooses not to click, then nothing will happen. It is up to the user to explore the work, whether that is limited or full exploration. This seems to give the user a sense of control, yet when one chooses to begin; the control is replaced by a feeling of being lost in the connections between the words in the smaller boxes.

   Sergio Encinas - 23.09.2014 - 03:27

10. Immersion and Interactivity in Digital Fiction

    Digital fiction began by defining itself against the printed book. In so doing, transgression of linearity and the attempt to reduce the authorial presence in the text, were soon turned into defining characteristics of this literary form. Works of digital fiction were first described as fragmented objects comprised of “text chunks” interconnected by hyperlinks, which offered the reader freedom of choice and a participatory role in the construction of the text. These texts were read by selecting several links and by assembling lexias. However, the expansion of the World Wide Web and the emergence of new software and new devices, suggested new reading and writing experiences. Technology offered new ways to tell a story, and with it, additional paradigms. Hyperlinks were replaced with new navigation tools and lexias gave way to new types of textual organization. The computer became a multimedia environment where several media could thrive and prosper. As digital fiction became multimodal, words began to share the screen with image, video, music or icons.
    

    Daniela Côrtes Maduro - 05.02.2015 - 12:28

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