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Oltre i confini del libro. La letteratura italiana nell'era digitale
Beyond the boundaries of the book. The Italian literature in the digital age is the master thesis of Daniele Giampà, a student of Italian and Spanish philology at the university of Zurich. The analysis of the Italian digital literature is articulated in three main parts: history of the electronic literature, predecessors of electronic literature and the analysis of works of Italian digital literature written between 1997-2012. The selection of the works is based on a taxonomy elaborate in the introduction of the thesis.
The central arguments of the thesis are the creation of an analytical instrument for the digital context, that is the matrix composed of the dimension of narratology and the dimension of informatics, the demonstration of the analogies between print literature and electronic/digital literature and the innovations brought by new media to literature.
Daniele Giampà - 12.12.2012 - 18:23
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Poetic Machines: an investigation into the impact of the characteristics of the digital apparatus on poetic expression
This thesis aims to investigate digital methods of signification in order to examine the impact of the apparatus on poetic expression. This is done through a critical analysis of the translation process from analogue to digital, in the sense that even as we read a page we are in fact translating sight into sound. The resulting effects of this change in form are explored in order to understand their impact on meaning-making in the digital realm. Through this interrogation the comprehension and definition of ePoetry (electronic poetry or digital poetry) is extended, by exposing the unique affordances and specificities of digital expression. Digital poetry theorists such as Loss Pequeño Glazier posit that the emerging field of electronic literature is composed of interweaving strands from the areas of computer science, sociology, and literary studies. This is reflected in the interdisciplinary nature of this thesis, which necessitates an engagement with the broad areas of translation, literature, and digital media studies.
Scott Rettberg - 07.01.2013 - 14:33
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Next Generation Literary Machines: The “Dynamic Network Aesthetic” of Contemporary Poetry Generators
This dissertation investigates the current state of digital poetry generators. The study argues that today’s poetry programs embody a new stage distinct from second- generation digital literature. The new stage projects a “dynamic network aesthetic,” reflective of four trends in Web 2.0 cultural production: the potential for mass aggregation; the adoption of participatory platforms; the instability of textual material; and the unpredictability of individual actors. The chapters interrogate the ways in which the four characteristics emerge in three categories of poetry generators: programs that manipulate user input; programs that manipulate Internet text; and programs that generate autonomous content. Corresponding with the three categories, three theorists of the machine inform the discussion. Donna Haraway, Jean Baudrillard, and Gilles Deleuze each provide apt approaches to twenty-first-century technology. However, each theorist also demonstrates the ways in which recent models of the machine do not yet fully account for the “dynamic network aesthetic” of the Internet era.
Scott Rettberg - 08.01.2013 - 17:07
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Digital Poetry Beyond Avant-Garde Readings: Proposing a Digital Lyric
Most often when critics try to demonstrate the "literariness" of digital poetry, the theory they rely upon derives from the avant-garde practices of the twentieth century. To expand this dialogue with literary traditions, this paper explores the possibility of a digital lyric. Through a textual analysis of selected digital poems, the lyric genre is reconsidered to meet the needs of digital writing in two ways. First, by drawing on key works from posthuman studies (Hayles; Haraway; Turkle) the lyric subject is re-envisioned beyond the limiting (and often assumed) Romantic-era definitions. Second, by revising the lyric subject with concepts from digital studies, a dialogue opens up with other generic traditions of the lyric: notions of brevity, emotional functions of the utterance, and even musical language. As well, the function of the lyric as a communal, performative gesture becomes an especially suitable poetic convention for the digital realm.
Scott Rettberg - 08.01.2013 - 17:10
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Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry
Digital poetry always involves mathematical concepts. Fusing together textual elements is an additive process, at very least. Combining files and presenting them via computer screens multiplies possibilities for poetry, and the sum, or sums, of the artistic equation are often worthy of the effort involved. Thus, what we factor into the equation, and how it is factored in, is important. Considering some of the successful works of digital poetry that appeared in the hypermedia journal Alire in France, and in other historical and contemporary works, I see a trait that emerges despite overt aesthetic differences and variant approaches in works produced that I wish to associate with a liberating and useful poetical concept that emerged in South America nearly a century ago.
Scott Rettberg - 30.01.2013 - 22:08
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(Polska) poezja cybernetyczna. Konteksty i charakterystyka
(Polska) poezja cybernetyczna. Konteksty i charakterystyka
Patricia Tomaszek - 15.02.2013 - 13:46
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From capacity to truncation: What can happens in 30 seconds of digital poetry
This paper makes observations about digital poetry through thematic connections derived from a 1969 short story by Robert Coover (“The Elevator”) and a poetics statement written forty years later by critic Janez Strehovec (“The Poetics of Elevator Pitch”). Strehovec’s essay addresses poetry in the age of short attention spans, and in which compositional designs are mosaics, hybrid. Contemporary works are unstable, precarious, and relations between textual components have evolved. Digital poetry is a textual, meta-textual, linguistic, and sometimes non-linguistic practice requiring new forms of perception. Because our observational skills have changed, Strehovec proclaims the importance of first impressions, getting viewers excited and immediately involved with language. He promotes the notion of an “elevator pitch” as a temporal ideal for digital poetry—the idea that the poem, “can be delivered in the time of an elevator ride (e.g., thirty seconds or 100-150 words)”, “which hooks the reader/user within a very short temporal unit”—an idea perhaps more relevant to authors of projected works than those who invite their audience to participate.
Audun Andreassen - 03.04.2013 - 10:00
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On Condenstaion: how "Computer Aided Poetry" works
"Cloud Computing" is a rather foggy notion, according to which the World Wide Web will be increasingly seen as a platform where not only information, but also different kinds of services and applications will become immediately available, as if coming out of an undifferentiated, nebular space. People will rely less on the software installed on their personal computers, and more on whatever is usable online.
Audun Andreassen - 10.04.2013 - 12:58
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Process-Intensive Fiction
Unlike digital poetry, which has pursued process-intensive directions throughout its history, the dominant directions of digital fiction make relatively light use of computational processes. Whether one looks at the traditions of hypertext fiction, interactive fiction, or video games, the primary model is a set of connections (traveled in different manners) between largely static chunks of language. This panel explores a set of alternatives to this model. The suggested potential panelists include the author of the first book on this topic, published in 2009 (Wardrip-Fruin); one of the authors of Facade, the first fully realized interactive drama (Mateas); the creator of Curveship, a new interactive fiction tool that introduces discourse-level variation as a first-class parameter (Montfort); a prominent author, commentator, and tool builder (Short); the author of Blue Lacunae, a vast, highly variable interactive fiction (Reed); the creator of new algorithms for literary variability based on conceptual blending (Harrell); and the author of the mainstream game industry's most ambitious project in this space, Far Cry 2 (Redding).
Audun Andreassen - 10.04.2013 - 13:39
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A Cross-Medial Close Reading of Swedish Digital Poetry
In the work with my thesis on digital poetry I aim to highlight the following three axes
1) A theoretical reflection considering language in interaction with the visual and auditory modalities as well as an investigation of the relation between language and technical media, using theorists such as N. Katherine Hayles and Friedrich A. Kittler.
2) An analytical, methodical approach, which investigates digital works of poetry and their intermedial relations and effects of meaning.
3) Putting into perspective the historical concrete poetry and avant-garde movements – primarily from Scandinavia.
Audun Andreassen - 10.04.2013 - 13:44
