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Vers de nouvelles formes en poésie numérique programmée?
In English:
I intend to illustrate some programmed forms among the most representative one of the
digital poetry of today. They use two important features of the digital medium: dual performative
signs and a semiotic gap between the author and the reader.Bootz Philippe. "About some programmed forms in e-poetry". Conference paper. EPC, SUNY Buffalo, 2006.
In French:
Cet article réalise une synthèse de mes travaux récents et propose, pour l’analyse des formes programmées, de nouveaux critères complémentaires de ceux proposés par ailleurs. La notion de forme programmée se dégage peu à peu des genres apparus en poésie numérique dans les années quatre-vingts Nous discutons les concepts à l’œuvre dans ces formes en insistant sur ceux de technotexte et d’intermédia. Ayant dégagé des axes analytiques performatif, lectoriel et instrumental, nous proposons et classifions quelques formes programmées.
Patricia Tomaszek - 28.10.2010 - 16:52
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Some stylistic devices on media interface
author-submitted abstract: In the past, the “innovations” of electronic poetry often have been circumscribed in rather general terms; today, it seems important to characterize its stylistic, semantic and pragmatic devices with more precision. The traditional “figures of speech” have sometimes been considered as capable of achieving this aim. By denominations like “animated metaphor”, I have tried for example in my book Matières textuelles sur support numérique to describe “phenomena of meaning” in electronic literature, when animation effects enter in meaningful relations with the contents of words or letters. It is however undoubtedly dangerous to use a terminology which have been forged to characterize textual phenomena, whereas the signs of electronic texts are often based on various semiotic systems. In a recent article for the review Protée (which I also presented during the e-poetry seminar in Paris), while describing what I would call “figures of speech on media surface”, I sometimes continue to use traditional taxonomies; in order to avoid too dangerous analogies, I try in other cases to invent a new terminology.
Eric Dean Rasmussen - 27.01.2011 - 16:57
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Scripting Writing and Reading in Jim Andrews's Digital Poems
The purpose of this paper is to demonstrate the theoretical relevance of kinetic poetry for studying the interaction between language, digital media, and signifying processes. Several writers have been using digital poetry to investigate meaning production as a function of formal operations upon linguistic, computational, and other cultural codes. Interactive kinaesthesia, the main algorithmic trope examined here, enacts the temporality of writing and the temporality of reading in medium-specific forms and genres that call attention to the way their machine and human processing happens. The cinematic enactment of time in the combined motions of computer-executed code and human-activated display will be seen in digital poems by Jim Andrews. His scripts are analysed as models for specific semiotic and interpretive processes. Computer performance and reader performance become co-dependent and intertwined as an entangled field. (Source: Author's abstract at MIT Tech TV)
Scott Rettberg - 07.03.2011 - 23:01
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Reflections on the iconicity of digital texts
Reflections on the iconicity of digital texts
Eric Dean Rasmussen - 29.08.2011 - 13:19
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New Media Textuality and Semiotics
New Media Textuality and Semiotics
Eric Dean Rasmussen - 30.08.2011 - 12:32
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Gestural Manipulation and Digital Poetics
Presents a semiotics of gestures, using many examples from online advertising and electronic literature. The act of clicking is in itself an act of interpretation in these works.
Scott Rettberg - 06.10.2011 - 15:50
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Textuality and Graphic Novels: Identity, Influence and Adaptation in V for Vendetta and Beyond
This paper presents a multimedia/hypertext/PowerPoint presentation that focuses on the graphic novel V for Vendetta by Alan Moore and David Lloyd and the 2006 adapted film version of V for Vendetta, directed by Andy and Larry Wachowski. This presentation addresses the history of graphic novels and looks at recent trends in the medium, compares two scenes from the graphic novel with the film, and weaves in theoretical concepts such as the relationships between text and image, the use of simulation and semiotic analysis. Other issues discussed include the use of theatrics, masks and constructed identity in both texts. Finally, the presentation concludes with a look at the future of graphic novels and a call to further academic studies of this emerging textual medium and its growing life in virtual online forms.
(Source: Author's abstract, 2008 ELO Conference site)
Scott Rettberg - 09.01.2013 - 10:12
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The Heuristic Value of Electronic Literature
What makes electronic literature interesting for researchers?
Maybe not its artistic and literary value, but rather its heuristic value.
Indeed electronic literature not only permits previous media to be reexamined (paper for instance), but it also allows several well-established notions to be questioned (cf. figure above) such as:
- narrative in narratology;
- text in linguistics and semiotics;
- figure in rhetorics;
- materiality in aesthetics;
- grasp in anthropology;
- memory in archivistics;
- literariness in literary studies…Exploiting the heuristic value of electronic literature has two consequences:
- an evolution of some notions in certain scientific disciplines, and maybe of the disciplines themselves;
- a revealing effect regarding both digital technology and interactive and multimedia writing.Audun Andreassen - 14.03.2013 - 15:51
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Reclaiming the 'Golden Age': The Second Person in Digital Fiction
Since the demise of the 'Golden Age' of literary hypertext (Coover 1999) and the theoretical debates surrounding online and offline electronic literature that followed in its wake, the study of digital fiction in particular has undergone a significant paradigm shift. Recent research has moved from a 'first-wave' of pure theoretical debate to a 'second-wave' of close stylistic and semiotic analysis. While the theoretical intricacies of second-wave digital fiction theory have been well debated (e.g. Ciccoricco 2007, Ensslin 2007, Ensslin and Bell 2007, Bell 2010 forthcoming), the discipline and practice of close-reading digital fiction require a more systematic engagement and understanding than offered by previous scholarship.
Audun Andreassen - 20.03.2013 - 10:12
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Closer again!
A semiotic appoach of animated figures in The Dreamlife of letters by Brian Kim Stefans. In many research works of these last years (for example in my book Matières textuelles sur support numérique, 2007), I tried to circumscribe the stylistic features of digital literature. More specifically, I aimed to identify the processes by which “figures of animation” and “figures of manipulation” in e-literature defamiliarize the conventions of digital discourse. In a recent article (“Digital literature - a question of style”, Reading moving letters, ed. Simanowski/Schäfer/Gendolla, 2009), I have already presented a close reading of The Dreamlife of Letters by Brian Kim Stefans; in order to characterize the textual animations in this work, I had recourse to traditional figures of speech (apocope, metathesis, etc.). The result was a large catalogue of figures - a “taxonomic explosion”.
Audun Andreassen - 10.04.2013 - 11:46
