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Seven Types of Interface in the Electronic Literature Collection Volume Two
Seven Types of Interface in the Electronic Literature Collection Volume Two
Eric Dean Rasmussen - 05.10.2011 - 10:16
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E-lit context as Records Continuum: the “lost” Michael Joyce’s Afternoon Italian edition and the archival perspective
Devoted to the study and retrieval of those artifacts of the past for which a disruption in the continuity of preservation occurred, archaeological sciences operate with – and against – historical and cultural fractures. Likewise, computer forensics provides assistance whenever a need to recover data in the event of a hardware or software failure occurs. The textual shifting from page to screen experienced in the past twenty years represented both a cultural fracture (a call for paradigmatic changes in preservation which archival sciences themselves were not prepared for) and an opportunity to test computer forensics practices on text-based digital artifacts (software and hardware failures being named, in this case, “obsolescence”). Our paper draws attention to the fact that both digital archaeology and computer forensics, however, no matter how useful in shaping the current preservation practices and methodologies adopted by scholarly communities operating in the digital field, cannot replace or do without the extensive scholarship developed in disciplines that have traditionally dealt with textual preservation in situations of cultural continuity.
Audun Andreassen - 03.04.2013 - 16:07
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The New-Media Novel: The Intersection of Film, E-Lit & Story
Advances in authoring tools are allowing a new kind of novel to emerge that resides at the intersection of print, film, and e-lit. I’d like to propose a reading from TOC: A New-Media Novel as its example of the new-media book.
Often created by a team of collaborators working in sound, animation, and language, these new-media novels involve many of the same challenges and pleasures of working in film, theater or other collaborative arts. And yet, unlike theater or film, these multimedia novels are books: they are read; they offer the same one-on-one personal experience readers have always had through reading traditional novels. The first part of the presentation will be a tour through TOC: A New-Media Novel by Steve Tomasula, with art and design by Stephen Farrell, animation by Matt Lavoy, programming by Christian Jara, and music, art, and other contributions from 13 other artists.
Audun Andreassen - 10.04.2013 - 13:03
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E-Pressing e-Literature Into The Future: The New Modalities of Publishing, 1914-2014
The Electronic University Press (EUP) uses digital media forums, tracking systems and databases through the submission, peer-review, editorial, and distribution/promotion phases of a work. Both its catalog and the portal itself serve as a hub for e-literature, en-visioning how multimodal works may be most effectively reviewed and promoted. The goal is to realize new possibilities for literature and scholarship beyond the traditional monograph by offering more active participation from users and more flexibility and inclusiveness for scholars and reviewers. It also offers a, much needed, legitimacy to new forms of scholarship that use electronic visual and sonic media as the literary meaning, or databases, digital interfaces, and multimedia design as crucial elements of the literary or scholarly content. The rise of electronic publishing options are changing the constraints on writing with digital media. The EUP serves as a response to these difficulties by fostering monograph-equivalent digital works that use new digital formats and by building an infrastructure that aids in the evaluation of such works. EUP: Committed to E-Literature. (Source Author Abstract)
Sumeya Hassan - 19.02.2015 - 15:18
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Writing as collective assemblages in the age of (post)digital capitalism, or de-colonizing e-literature in the minor key.
In my proposition, I would like to explore the notion of the minor (Deleuze and Guattari, 1986), employed here as a theoretical tool allowing for a critical inquiry into multifarious e-literary post-internet practices, popularly referred to as Third-Generation E-Literature (Flores, 2019), and accompanied by third-wave e-literature scholarship (Ensslin et al., 2020). However, I am going to build on this notion following its recent repurposing by Anne Sauvagnargues (as the minor style) (Sauvagnargues, 2016) and Erin Manning (as the minor gesture) (Manning, 2016). Kathi Inman Berens aptly remarks (Berens, 2020) that de-colonization of e-literature requires multiplicity of perspectives, as it entails not only cultural hegemonies operating along geographical, ethnic and racial axes and following the set of distinctions shaped by modernist aesthetics, but it also needs to address widespread domination of Big Tech companies shaping the popular internet platforms, programming solutions and users' practices.
Cecilie Klingenberg - 24.02.2021 - 15:57
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‘Doing e-lit’ in print: Plus-Human Codes and the (re)Turn to the Bookbound
“He may be a superdecoder or a superspy but he’s sort of neutral, though not quite like a machine, more like he’d, sort of, come and, reversed all our, traditional, oppositions, and questioned, all our, certainties”, or so Zab falteringly describes the Martian boulder-cum-supercomputer that has crash-landed in a disused Cornish mine.
Christine Brooke-Rose’s 1986 novel, Xorandor, is remarkable as much for its eponymous radioactive-waste-guzzling, double-crossing rock, as for being partially narrated in the programming language, Poccom 3. Invented by siblings, Jip and Zab, first as a kind of idioglossia and then as a lingua franca for communicating with Xorandor, Poccom 3 is rather like the indeterminate rock: its presence in the text requires a supreme effort of decoding to begin with, becomes increasingly naturalized with exposure, but consistently questions all our certainties about the language of literature.
Cecilie Klingenberg - 26.02.2021 - 14:11
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Oneirographia - The writing of dreams
This work presents an artistic process based on a dream that took place in the capital of Czechoslovakia, a region unknown to the dreamer, which happened at the beginning of the quarantine period due to the Coronavirus pandemic. The first stage of this creative process started with the confirmation of coincidences between real-life Prague and the dreamed Prague. The similarities, discovered mainly through the search algorithms that led to Google maps, touristic blogs, Wikipedia, and other websites allowed the collection of data for the memories would not be lost and could be used as tools for the creative process. That fact so unique and different from other experienced dream phenomena aroused a series of sensations and reflections on the possibility of incorporating the unforeseen and irrational element as a means of promoting academic inquiry and artistic research. It was also an encouragement at the critical moment of confinement and pessimism.
Milosz Waskiewicz - 25.05.2021 - 14:37
