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Electronic Literature as a Means to Overcome the Supremacy of the Author Function
In his seminal essay “What Is an Author?” Michel Foucault maintains that we can only accept literary discourses if they carry an author’s name. Every text of poetry or fiction is obliged to state its author, and if, by accident or design, the text is presented anonymously, we can only accept this as a puzzle to be solved, or, one could add, as an exceptional experiment about authorship that is verifying the rule. This was in 1969. In the meantime, a profound change of all forms of social interaction has been taking place. Amongst them are works of electronic literature that use the computer in an aesthetic way to create combinatory, interactive, intermedial and performative art. One could argue, of course, that electronic literature as new media art often only is a proof of a concept addressed to the few tech-savvy select. However, these purportedly avant-garde pieces break the ground for developments that might happen barely noticed, and by this serve an important political, ideological, aesthetic and commercial purpose. Amongst these developments is a change of the seemingly irrevocable rule of the author in literary discourses.
Hannah Ackermans - 16.11.2015 - 10:07
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Abandoned and Recycled Electronic Literature: Jean-Pierre Balpe’s La Disparition du Général Proust
his presentation addresses the fate of 1990s pioneering programs of electronic literature during the 2000s. What happened to 1990s electronic literature aesthetic theories and programs once its distribution shifted from floppy disks and CD-ROMs to the Internet? How did early authors of electronic literature revisit their work in light of the ubiquity of the Internet as a form of writing?
Hannah Ackermans - 16.11.2015 - 10:13
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Digitising Ariadne’s Thread: Feminism, Excryption, and the Unfolding of Memory in Digital Spaces
Our contemporary digital age relies on the ontology of the hyperlink with its capacity to conflate time-space, which allows us immediate access to information in its varying forms of organization. The hyperlink brings texts, images, documents and modes of accessing information directly to our computer and mobile media screens, bypassing the old materialities and technologies for storage of cultural artifacts. Providing us with the fast convergence of information and cultural artifacts, it radically alters the manner in which we extend ourselves in time and space. Sybille Kramer argues that these changes are wrought through digital technologies that operate at the level of the subhuman and sub-perceptible level of the operation of digital code.
Hannah Ackermans - 16.11.2015 - 10:49
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Performance Art, Experimental Poetry and Electronic Literature in Portugal: An Intermedial Archive to an Intermedial Practice of Language
Considering electronic literature from a temporal perspective calls for a redefinition of our classical notions of time. It is impossible to anticipate its end because electronic literature appears as dynamic, and cyclic. Therefore, in order to think this ever-present artistic manifestation in its radical meanings and in a futuristic perspective, it is useful to know its past.
In Portugal, electronic literature, experimental poetry, and performance art share and explore the same performative concept of language, re-examining fundamental literary notions such as author, space, time, audience, medium, mediation and materiality. In this paper, we will present an intermedial archive to illustrate an intermedial field of practice.
This paper is thus based on current research on the history of Portuguese performance art. After framing and pointing out the close relationship between experimental poetry, performance art, and electronic literature in Portugal, we will present a timeline of Portuguese performance art (1915-1990), which will soon be available in the Digital Archive of Portuguese Experimental Literature (www.po-ex.net).
Hannah Ackermans - 16.11.2015 - 11:20
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It Is the End of the World as We Know It and I Feel Fine
My paper tries to make three simple points, each one of which is connected to a specific end of electronic literature: theoretical, practical, and historical. The point of departure is of course electronic literature as we know it and perhaps like it to be: seriously undertheorized, critically experimental, ignored by media and literary departments, and practiced in relatively small and isolated communities that are firmly situated outside the usual constraints of literary market economy. This is about to change given the multitude of devices and gadgets suitable for consuming electronic literature controlled (i.e. produced, published, distributed and owned) by big media corporations. In short, we’ll soon have something new and unprecedented: popular electronic literature and probably all that usually (or historically) comes with it: both healthy and counterproductive tensions between e-literatures high and low, experimental and generic, innovative and mainstream etc. Therefore, we might need several alternative ends.
Hannah Ackermans - 28.11.2015 - 14:39
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Written. Not Found. Not Generated. Not Random.
This presentation will be a self-critical analysis of the development and reception of the P.o.E.M.M. Cycle (Poetry for Excitable [Mobile] Media), a series of interactive touch text-works created by the author and his team from 2007–2014. The goal is to situate the project within my own trajectory experimenting with electronic literature, particularly in terms of how it integrates interests in writing, computation, design, visual arts, print-making, book-making, and performance. A further goal is to articulate a position on the question of “to what end electronic literature”, as well as the question of where the project is situated in the forming history of the field.
Hannah Ackermans - 28.11.2015 - 14:42
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This Is Not the Beginning or the End of Literature
It is too easy to fall into prognostications of electronic literature as the end of literature or as a new beginning. (...) Such views imply too much teleology, and see electronic literature purely as the unfolding of the possibilities of the apparatus. The rhetorical logic at work is literalization, i.e. taking literary works as the sum of their technical features. (Rui Torres & Sandy Baldwyn, eds. 2014. PO.EX: Essays from Portugal on Cyberliterature and Intermedia. Morgantown, WV: Center for Literary Computing: xv-xvi).
Hannah Ackermans - 28.11.2015 - 14:53
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Redefining Electronic Literature
Scott Rettberg presents his forthcoming monograph Electronic Literature (Polity, 2018), Joseph Tabbi introduces the collection The Bloomsbury Handbook of Electronic Literature (Bloomsbury, 2018). Eric Rasmussen moderates a discussion of the two books and the field of electronic literature. Part of the ELMCIP Electronic Literature Knowledge Base symposium at the University of Bergen, April 27, 2018.
Scott Rettberg - 01.05.2018 - 20:37
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Is there a gap in the classroom? Inanimate Alice in Portuguese schools
There is still a big gap between electronic literature for children and Portuguese schools. Actually, this situation is in contrast with the increasing interest the educational community and publishers show in print literature for children and young adults in Portugal.
In this paper we aim to develop the steps that the team from the project Inanimate Alice: Translating Electronic Literature for an Educational Context (Centre of Portuguese Literature at the University of Coimbra) took in order to give Portuguese students the opportunity to experience e-lit.
As our ultimate goal is to introduce e-lit in Portuguese schools, the team has translated the first five episodes of Inanimate Alice and is now working on the translation of the Pedagogical Guidance, created by Bill Boyd.
To accomplish that, we needed to find financial support to publish the Portuguese version of the series. So we contacted the two biggest education-oriented Publishing Companies in Portugal, but they rely a lot on the ministerial documents and they barely dare to innovate, as it is safer to publish what the Ministry of Education (ME) recommends schools, teachers and students to buy.Li Yi - 05.09.2018 - 15:48
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Pleasure and E-Lit: Looking at the Difficult and Unfamiliar in the Undergraduate Classroom
In their 2001 book Art with a Difference: Looking at Difficult and Unfamiliar Art, Leonard Diepeeveen and Timothy Van Laar observe “Artwork is not just an object; it is an object (or event) that does something. The most basic thing an artwork does is give its viewers an implicit set of instructions for its use; it suggests ways in which it ought to be experienced” (95).
While not written with electronic literature in mind, the book was designed as a supplementary text for beginning arts courses with an awareness of the difficulty that many beginning or non- specialist readers have in understanding contemporary art. The e-lit classroom can be beset by similar difficulties; even the most avid readers in a class can be puzzled by or resistant to the diverse cognitive and ergodic “reading” activities that accrue under the banner of electronic literature.
Li Yi - 05.09.2018 - 16:01
