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1. E-literature

   E-literature

   Eric Dean Rasmussen - 07.03.2011 - 08:48

2. The ppg256 Series of Minimal Poetry Generators

   I discuss the four Perl poetry generators I have developed in the ppg256 series. My discussion of each program begins with the entire 256 characters of code and continues with an explication of this code, a description of aspects of my development process, and a discussion of how my thinking about computation and poetry developed during that process. In writing these programs, I came to understand more about the importance of framing to the reception of texts as poems, about how computational poetic concepts of part of speech might differ from established linguistic ones, about morphological and syntactical variability, and about how to usefully think about possible texts as being drawn from a probability distribution.

   (Source: Author's abstract)

   Scott Rettberg - 26.03.2011 - 17:39

3. I Love E-Poetry

   This scholarly blog was launched on December 19, 2011 as a constraint to read and critically reflect upon a work of e-poetry every day, leading me to revisit known works, discover new ones, and expand my knowledge of this emergent poetic genre. Its initial performance was a continuous run of 500 daily entries, completed on May 2, 2013.

   Eric Dean Rasmussen - 24.01.2012 - 10:02

4. Oulipo: a primer of potential literature

   This is an amazing anthology of writings by members of the group known as Oulipo, including, among others, Italo Calvino, Harry Mathews, Georges Perec, Jacques Roubaud, and Raymond Queneau. Put simply, this group, which was founded in Paris in 1960, approaches creative writing in a way that still has yet to make its impact in the United States and its creative writing programs.

   Rather than inspiration, rather than experience, rather than self-expression, the Oulipians viewed imaginative writing as an exercise dominated by what they called "constraints." Quite commonly, they would attempt to write stories, for instance, in which strict rules had to be imposed and followed (for example, Georges Perec's notorious novel A Void, which was written without the use of the letter "e").

    While a major contribution to literary theory, Oulipo is perhaps most distinguished as an indispensable guide to writers.

   (Source: Dalkey Archive Press catalog.)

   Meri Alexandra Raita - 20.03.2012 - 16:11

5. Writing under Constraint of the Regime of Computation

   This chapter argues that an understanding of writing under constraint in the context of programmable networked media implies both an awareness of the productivity of constraints as means of literary production, and an understanding of the specific writing constraints inherent in algorithmic culture. It claims that the programmability of constraints and the programmability of human language define the situation of writing under constraint in networked digital media. The chapter is divided into four sections: “Constraints in Language, Discourse and Literary Form”; “Constraints as Means of Literary Production and Invention”; “Underwriting Constraints”; and “Overwriting Constraints”. An introductory reflection about the nature of literary constraints and a brief survey of constraint-based practices are followed by a description of the computability of language and the programmability of constraints.

   Manuel Portela - 20.04.2018 - 12:46

6. A Stretch of the Imagination: Transforming Writing Under Constraint into an Inclusive Practice

   In electronic literature, the practice of writing under constraint is widely accepted as a creative catalyst; through self-imposed textual restraints, we find new meanings and forms. At the same time, some of us are often reading and writing under constraint due to various disabilities. Yes, we can describe electronic literature as “formally inventive” in its wide use of multimedial writing, but no text or its reception is purely formal because it is always material, situational, and embodied as well.

   Bringing up accessibility of these texts generally leads to a knee-jerk reaction: "I don’t want to be limited", "it would stifle my creative freedom", or, god forbid, "why does everything have to be so politically correct?" What if we move past this initial resistance not toward denial, rejection, or a resigned compliance, but with the same creative energy that we allow other forms of writing under constraint?

   Hannah Ackermans - 31.07.2020 - 08:30

7. Salon 9: October 13, 2020: Accessible Bits

   Background

   At a recent ELO meeting about options for increasing the accessibility of Deena Larsen’s work "Chronic", Deena mentioned us that the next ELO Virtual salon would be dedicated to the topic of accessibility. Since I am writing an essay about the accessibility of electronic literature, Deena invited me to share my work-in-process at the salon.

   Presentation

   My essay rewrites and overwrites, with all the political and creative connotations those terms contain, Joseph Tabbi’s essay "Electronic Literature as World Literature, or, the Universality of Writing under Constraint" through the lens of disability. Using three small case studies, I explore the concept of digital accessibility through the concepts of defamiliarization and writing under constraint.

   Hannah Ackermans - 06.04.2021 - 10:44

8. Salon 10: November 12, 2020: DNA: A Digital Fiction Project, Wikipedia and Constructions of Actual and Satirical Possible and Impossible Worlds

   Overview and Instructions

   Hannah Ackermans - 06.04.2021 - 10:51

9. Better with the Sound On; or, The Singularity of Reading and Writing Under Constraint

   This essay rewrites and overwrites, with all the political and creative connotations those terms contain, Joseph Tabbi’s essay "Electronic Literature as World Literature, or, the Universality of Writing under Constraint" through the lens of disability. Using three small case studies, I explore the concept of digital accessibility through the concepts of defamiliarization and writing under constraint.

   Electronic literature uses defamiliarization to provide a powerful force against the mainstream digital media, considering reader engagement and reflection in its success rather than attention counted in time and size of the audience. Using Eugenio Tisselli's The Gate as a case study, I argue that for a work to defamiliarize, its authors need to consider what is familiar to a variety of audiences.

   Hannah Ackermans - 06.12.2021 - 14:34