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1. Editing Electronic Literature in the Global Publishing System

   Contemporary “format disruptions” (Savikas) lead to a new experience and practice of scholarly publishing: it is global, virtual, and instantaneous. How does this apply to electronic literature? Elit works exist in a field of publication, characterized by circulation, commentary, and archiving. They are subject to complex corporate toolchains, software updates, social media, etc. The work is no longer just the work but the entirety of this field. Publication is no longer a single event or a single thing. Think of this in terms of Luhmann’s systems theory: the differentiating distinction between artistic production and critical discourse is shifted; the difference made by artwork - its “poetics” - is now systematically linked to critical discourse.

   Elisabeth Nesheim - 04.10.2013 - 11:55

2. Where Is the Text? The Disappearance of the Text in Electronic Poetry

   Electronic poetry encompasses works very different from one another. Talking about electronic poetry as if it were just one creative form seems to be inaccurate. On the other hand the interest to be had in electronic poetry seems to reside exactly in the diversity which electronic poetry has to offer to its reader.
   This paper will feature an empirical approach to electronic poetry. The aim of this paper is a two-fold goal. On the one hand it will study the “development” of electronic poetry, and our hypothesis is: the text is disappearing in e-poetry; and on the other it will compare e-poems written in different languages to see if there are differences of style in composing e-poetry.
   

   Alvaro Seica - 04.10.2013 - 11:58

3. To Grasp or not to Grasp. A Phenomenological Approach to Serge Bouchardon's E-Literary Pieces

   To Grasp or not to Grasp. A Phenomenological Approach to Serge Bouchardon's E-Literary Pieces

   Arngeir Enåsen - 04.10.2013 - 12:01

4. The Absence and Potential of Electronic Literature

   There is no understanding of electronic literature. No theory exists to analyze literary texts and signs on the computer and the network. How does the digital inscription become literary? Don’t get me wrong: there are admirable descriptive formalisms and historical genealogies of electronic literature. All these function as criticism should, but offer nothing of electronic literature as such. Existing criticism begins from the presumption that “there is” electronic literature and proceeds to describe the various works in existence (for example, in Electronic Literature Hayles explicitly refuses to theorize the subject of her book). The results are productive for maintaining the existing distribution of texts and readings in a field of literary and non-literary texts. My paper is part of a project refusing the given-ness of these forms and histories. The theory of “electronic literature” is a failure, and I insist on the achievement of this failure. The larger project is a technical and philosophical argument for the absence and potential of electronic literature. For purposes of this paper, I draw my examples from the ELC Volume 2.

   Alvaro Seica - 04.10.2013 - 12:08

5. 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

6. <<Chercher l’exhibition>> Curating Electronic Literature as a Critical Practice

   This presentation focuses on curating electronic literature as a critical practice. Exhibits focusing specifically on Electronic Literature have been mounted at galleries, libraries, universities, convention spaces, and parks and other outside venues. The Electronic Literature Organization’s 2012 Media Art Show, for example, hosted exhibits in five different locations in Morgantown, including a community arts center, local gallery, the university library, a department’s conference room, and the city’s amphitheater, while the MLA 2012 and 2013 exhibits were held at the Washington State and Hynes convention centers, respectively. Exhibits of Electronic Literature are planned for U.S. Library of Congress in April 2013 and Illuminations gallery at University of Ireland Maymooth in March 2014, and in various locations in Bergen, Norway in fall 2015. This range of venues suggests a flexibility and appeal of Electronic Literature that is both scalable and broad. With these qualities in mind, the presentation will discuss questions including but not limited to:

   Fredrik Sten - 17.10.2013 - 17:13

7. The "Research and Creation" Approach in Digital Literature

   How can one articulate literary and artistic creation and scientific research? In my case, creative research consists in creating experiences. Indeed I emphasize the notion of experience, or rather experiences: the experiences of the author, of the reader and of the researcher (in the field of digital literature). This approach is based on a variety of first person and third person experiences, subjective experiences and objective descriptions, spontaneous and instrument-based experiences (ie closer to experiments). Conceiving a literary and artistic experience as a scientific experience implies admitting that real life experience can have a scientific dimension. In this approach, I analyse my own productions as well as the productions of other authors. I can think my productions and those of others from a concept-based perspective or from a creative activity perspective, as a literary and artistic experience or as material for a scientific experiment.The challenge is to develop protocols of introspection, data collection and traces which will then reconstruct what happened.

   Fredrik Sten - 17.10.2013 - 17:32

8. Post-digital Books and Disruptive Literary Machines

   The e-book has been launched several times during the last decades and the book’s demise has often been predicted. Furthermore networked and electronic literature has already established a long history. However, currently we witness several interesting artistic and literary experiments exploring the current changes in literary culture – including the media changes brought about by the current popular break-through of the e-book and the changes in book trading such as represented by e.g. Amazon’s Kindle and Apple’s iBooks – changes that have been described with the concept of controlled consumption (Striphas, 2011, Andersen & Pold, 2012). In our paper we want to focus on how artistic, e-literary experiments explore this new literary culture through formal experiments with expanded books and/or artistic experiments with the post-print literary economy. Examples of the first are Konrad Korabiewski and Litten’s multimedia art book Affected as Only a Human Can Be (Danish version, 2010, English version forthcoming) and our own collaborative installation Coincidentally the Screen has turned to Ink (presented at the Remediating the Social conference, Edinburgh 2012).

   Fredrik Sten - 17.10.2013 - 17:39

9. Une “poésie numérique”? Khlebnikov et Jakobson, Marinetti, Schwitters, Kostelanetz

   Quelques protagonistes des avant-gardes historiques montrèrent de l’intérêt pour une poésie exclusivement faite de nombres.
   

   Rebecca Lundal - 17.10.2013 - 17:58

10. The Awareness of the Power of the Tool: the Author and his Practices

    Notre présentation porte sur le rôle et les enjeux de l’outil-logiciel dans le processus de création des œuvres de littérature numérique. L'outil, sur lequel l’auteur s’appuie de plus en plus, conditionne l'expression de sa créativité. De notre point de vue, l’outil n’est pas neutre dans le processus de création et porte en ses formes, un risque élevé de standardisation. En étant immergé dans la logique de l’outil, l’écriture, au sens traditionnel du terme, est passée au second plan. Nous sommes plongés dans la visualisation des formes et dans l’outil-architexte. Nous sommes dans l’ordre de l’organisation visuelle de la pensée et des échanges. La mise en page met au premier plan certains éléments, en retrait d’autres, articule des formes et propose certaines pratiques. L’auteur, en s’insérant dans la logique de l’outil-logiciel et ses présupposés, peut tomber sous la fascination de celui-ci. Nous pouvons à ce titre nous demander si l’outil ne le domine pas, par la fascination qu’il exerce à son endroit.

    Rebecca Lundal - 17.10.2013 - 18:27

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