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1. Aesthetics of Surface, Ephemeral and Re-Enchantment in Digital Literature: How Authors and Readers Deal with the Lability of the Electronic Device

   Whenever the program of a work, created by an artist, is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, the digital device may sometimes affect the author’s artistic project, or even make it unreadable on screen. Thus, readers do not know what they should consider as part of the artist’s intentionality, and what they should ascribe to the unexpected changes made by the reading device of their personal computer. Critics who are in keeping with a hermeneutic approach may ascribe certain processes, actually caused by the machine, to the artist’s creativity. What is more, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the “digital” artist is given four options when dealing with the lability of the electronic device, which will be described in this article by close readings of The Dreamlife of letters by Brian Kim Stefans, Revenances by Gregory Chatonsky and La Série des U by Philippe Bootz.

   Alexandra Saemmer - 03.07.2011 - 16:03

2. Following Paths of Electronic Literature

   Easy manipulation, playfulness, creative and active participation in the progress of society and culture by the development of various (art) projects are essential for the ideal of contemporary culture and society. The aim of the article is to look at the phenomena that play an important role in the field of electronic literature – interaction, materiality, performativity and the dynamics of hic et nunc, playfulness, ludification and the innovative use of platforms. The article follows contemporary trends in the field of electronic literature and simultaneously tries to outline some possible directions that electronic literature could take in the near future. (Source: author's abstract)

   Eric Dean Rasmussen - 01.09.2011 - 11:24

3. Basquiat meets Mario Brothers? Digital poet Jason Nelson on the meaning of art games

   An interview with the self-described digital poet Jason Nelson on the semiotic pleasures of playing and creating "art-games," indie works produced outside corporate game studios, which, Nelson predicts, will eventually be recognized as the most significant art movement of the 21st century. While explaining how he came to be a digital author, Nelson addresses topics such as his continued love of Flash as a production tool, despite its likely obsolesence, his appreciation for gamescapes that allow for aimless wandering, and the intense reactions his art-games provoke in players. Alluding to the fact that Digital Poet is not the most lucrative of professions, Nelson signals his desire to design "big budget console games," provided he could do so on his terms. 

   (Source: Eric Dean Rasmussen)

   Eric Dean Rasmussen - 28.09.2011 - 12:44

4. Orpheus no longer uses the Qwerty layout: Literature and Digital Ghosts

   Orpheus no longer uses the Qwerty layout: Literature and Digital Ghosts

   Theodoros Chiotis - 30.09.2011 - 22:22

5. Pixelated Drama

   A discussion of the emerging pixel aesthetic in the late 90s, through a meditation on the Pixelvision 2000, Kasparov versus Deep Blue, and analog video art aesthetics.

   Joe Milutis - 20.01.2012 - 22:53

6. Writing the Ephemeral […] and Re-Enchanting the Remnants: The Lability of the Digital Device in Literary Practice

   Whenever the program of a work is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, it may sometimes affect the author’s artistic project, or even make it unreadable on screen. Thus, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the artist is given four options when dealing with the lability of the electronic device: (1) she demands the ‘right’context of reception for his work – a requirement which, over time, will be confronted with the impossibility to preserve obsolete machines, software and operating systems; (2) she ‘re-enchants’ the lability of the electronic device and ascribes a ‘technological sublime’ to it; (3) she simply ignores the lability of the digital device and creates at once, as if the digital framework was immutable; (4) she is fully aware of the instable environment in which his digital creation will be updated; he even considers the ephemeral and uncontrollable nature of his work as its fundamental aesthetic principle.

   Patricia Tomaszek - 12.12.2012 - 14:21