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1. Code, Interpretation, Avant-garde

   Code, Interpretation, Avant-garde

   Eric Dean Rasmussen - 29.08.2011 - 17:14

2. Exchanges and Cross-Fertilizations Mapping the Field: Four Perspectives on Aleph Null

   The panel was a team-reading / deconstruction of Jim Andrews' Aleph Null. The author first presented Aleph Null, a digital artwork / digital art tool that enables users to adjust and compose a generated animation Andrews describes as "color music." Leonardo Flores presented the work in the context of Andrews' background and his prior work. Mark Marino presented a reading at the level of code, with particular attention to the paratexts in the comments of the code itself. Giovanna di Rosario read the surface effects of the piece itself.

   Eric Dean Rasmussen - 06.06.2012 - 10:40

3. Transient Self-Portrait

   Transient self–portrait is an artistic research project with the aim of creating an interactive piece.
   I take as the point of departure two pivotal sonnets in Spanish literature that are normally studied
   alongside each other, En tanto que de rosa y azucena by Garcilaso de La Vega, a 16th Century
   Spanish poet, using Italian Renaissance verse forms and Mientras por competir con tu cabello by
   Luís de Gongora, a 17th Century Spanish poet from the Baroque period. Gongora’s sonnet is a
   homage to Garcilaso’s and the styles and the cultural aspects that appear on the sonnets are very
   different reflecting the attitudes from the Renaissance and the Baroque.

   Eric Dean Rasmussen - 20.06.2012 - 19:33

4. Comments on Comments in Code

   Where in source code do we locate the "extra-functional significance" that Critical Code Studies calls us to critique? One starting point is in code comments. In most programming languages, comments are simple marks that set aside text for humans to read but computers to ignore. The act of "commenting" and "uncommenting" circulates this text into and out of the code per se, which is to say into and out of the purview of the compiler / interpreter. Like footnotes or endnotes, code comments are paratexts — continuous with and yet set apart from the source. Where they serve as actual *commentaries*, these paratexts enabling programmers to signal intentions, record histories, and render aesthetic judgements: comments enable the vital processes of software development culture.

   Patricia Tomaszek - 07.07.2012 - 22:36

5. Über Literatur und Digitalcode / Digital Code and Literary Text

   "This paper is based on the general (yet disputable) assumption that the theoretical debate of literature in digital networks has shifted, just as the poetic practices it is shaped after, from perceiving computer data as an extension and transgression of textuality (as manifest in such notions as "hypertext'', "hyperfiction'', "hyper-/ multimedia'') towards paying attention to the very codedness - i.e. textuality - of digital systems themselves."

   Original text by Florian Cramer, retrieved from https://www.netzliteratur.net/cramer/digital_code_and_literary_text.html

    

   Johannes Auer - 05.11.2012 - 22:23

6. The Web is Paratextual: An Exploration of the Web's Architecture from a Paratextual Perspective

   Contrary to what one might assume when comparing the materiality of the book-as-object to the Web, this paper proofs what the title promises and projects Gérard Genette's '87 book-based paratext theory onto the Web. Elements of the Web’s architecture selected for this paratextual study include textual units that are exposed in browser windows, thereby taking into consideration Hypertext Markup Language (HTML) and the structure of website-addresses and links.The presentation concludes with examples from electronic literature, that is literature in programmable media, an artistic practice employing language-driven, linguistic, and literary features in multi-medial, digital environments carried out by an artist, programmer, designer, or computer program.

   Patricia Tomaszek - 07.12.2012 - 11:46

7. Writing the World: Toward a Systems Approach to E-Writing

   Code – The Language of Our Time, new media poetics, and p0es1s. The Aesthetics of Digital Poetry, are three widely regarded collections dealing with e-writing and its code from a humanist perspective. As an indication of how emergent this field of study is, in the several essays and papers that treat computer program code in these works, almost no actual code is presented for analysis or as concrete examples of the abstractions that their authors discuss.

   This is altogether understandable. There was no aesthetic arc hovering over and guiding the transition from legacy print writing to e-writing. In fact there was virtually no transition. Ewriting was suddenly there (here). And its foundation, program code, was an immediate fact that few students of literature had been trained to understand. Before they could, a framework had to be built within which this new literature, whose tools of craft are so obscure and esoteric, could be reasoned about and judged. Program code problematizes literary study at its very essence—at the act of creation.

   Scott Rettberg - 30.01.2013 - 21:39

8. Au seuil du livre : les œuvres hypermédiatiques d’Andy Campbell (The Rut, Surface, Paperwound)

   Avec l’avènement de la cyberculture, on aurait pu croire, sinon à la disparition du livre, du moins à son usure en tant que modèle. Mais, dans les faits, nous assistons plutôt sur le Web à une prolifération des figures du livre. À cet égard, les œuvres hypermédiatiques d’Andy Campbell sont révélatrices. Sur son site, intitulé Dreaming Methods, il élabore une véritable poétique de la figure du livre et du papier en hypermédia. Toutefois, on le démontrera, chez Campbell, le livre fait moins l’objet d’un hommage qu’il est une figure à déconstruire par l’hypermédia (Cf. Paperwounds, et Surface). Nous nous attacherons à l’analyse précise de The Rut, présenté comme : « A self published book that never get back the front cover ». L’œuvre est composée des quinze versions du péritexte du livre simulé de Max Penn. The Rut, apparaît dans un premier temps comme un livre sans contenu, où la narration est déportée dans la fictionnalisation d’un péritexte, dont le sérieux et le formalisme se délite à chacune de ses occurrences.

   Jill Walker Rettberg - 23.08.2013 - 13:31

9. 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

10. Translating afternoon, a story by Michael Joyce, or How to Inhabit a Spectral Body

    If we are to follow Paul de Man’s reading of Walter Benjamin’s famous essay “The Task of the Translator” , the translating process, far from being an attempt at totalization, further fragments the already fragmented pieces of a greater vessel, "die reine Sprache", or pure language, which remains inaccessible, and stands for a source of fragmentation itself. The work exists only through the multiple versions it comprises. As claimed by Walter Benjamin in « The Task of the Translator », a work always demands a translation which is both an alteration and a guarantee of its perpetuation : "(…) it can be demonstrated that no translation would be possible if in its ultimate essence it strove for likeness to the original. For in its afterlife -- which could not be called that if it were not a transformation and a renewal of something living -- the original undergoes a change."
    

    Rebecca Lundal - 17.10.2013 - 16:17

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