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Holopoetry, Biopoetry and Digital Literature: Close Reading and Terminological Debates
A version of this article was republished as chapter 1, "Digital Literature," in Simanowski's Digital Art and Meaning (University of Minnesota Press, 2011).
Patricia Tomaszek - 13.01.2011 - 18:33
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Creativity is something for hairdressers - so what is it for writers? Why the differentiation of 'literature' and 'writing' is obsolete, and what the Internet has to do with it
I will try to make a blend between the notion of "creative writing", which is typically American (and doesn't exist in most of continental Europe), and the discourse of creative industries, which is typically European, and try to stab the notion of "creative" a bit as a kind of helpless placeholder for something that, for whatever reason, is no longer called literary or artistic. So, referring to Kenny Goldsmith, it's not about a dichotomy creative/uncreative, but what's questionable about the concept in the first place. If we shift the issue from an idealist to a materialist perspective, then the difference between creative/literary writing and common writing has always been arbitrary.
The critical edition of Kafka, which now includes the documents he wrote for his insurance company, is a good example, as are earlier examples of published letters, diaries etc. Foucault's criticism of the the notion of the oeuvre, whether it would include scraps and laundry bills or not, seems quite backwards to me. The actual difference has been one of published and non-published writing, with publishing being (for technical and economic reasons) controlled by an industry.
Eric Dean Rasmussen - 14.06.2012 - 16:38
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Why ‘But is it e-lit?’ Is a Ridiculous Question: The Case for Online Journals as Organic, Evolving Works of Digital Literature
Cordite Poetry Review, an Australian journal of poetry and poetics, was founded in 1997 as a print journal but since 2001 has appeared only online. Over the last ten years, as the magazine has grown in size and reach, the question of Cordite’s status as a journal has become more vexed. Can it be regarded as a ‘proper’ literary journal, in the way that other, offline journals are? Is it truly electronic, given the relative absence of works on the site that explore the possibilities of the online space? Or are these merely ridiculous questions, the posing of which reflects a pre-online hierarchy of prestige?
Eric Dean Rasmussen - 22.06.2012 - 16:37
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The New-Media Novel: The Intersection of Film, E-Lit & Story
Advances in authoring tools are allowing a new kind of novel to emerge that resides at the intersection of print, film, and e-lit. I’d like to propose a reading from TOC: A New-Media Novel as its example of the new-media book.
Often created by a team of collaborators working in sound, animation, and language, these new-media novels involve many of the same challenges and pleasures of working in film, theater or other collaborative arts. And yet, unlike theater or film, these multimedia novels are books: they are read; they offer the same one-on-one personal experience readers have always had through reading traditional novels. The first part of the presentation will be a tour through TOC: A New-Media Novel by Steve Tomasula, with art and design by Stephen Farrell, animation by Matt Lavoy, programming by Christian Jara, and music, art, and other contributions from 13 other artists.
Audun Andreassen - 10.04.2013 - 13:03
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In[ter]venting Multi-Modal Rhetoric(s)/(a) Poetics of Emergence
This presentation looks at electronic literary practices and the modes and methods of meaning-making there in. Using his own creative work as an example, Memmott discusses how the poetic formation and rhetorical outcomes of the work are integral to the ‘text’ of the work, and integrated into what could be called an environmental grammatology. From programming to visual design, the word to the image, user interaction to instrumentality -- we have moved from “Work to Text” to Work...
Talan Memmott - 04.07.2013 - 16:22
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Limbo and the Edge of the Literary
Limbo, released in 2010, is a puzzle platformer that features a player character who awakes in Limbo, on the edge of hell. He must traverse a world of bear traps, giant killer spiders, and spinning gears. As with any game, the player of Limbo will necessarily fail while solving the game’s puzzles; however, this game makes those failures especially painful. The player character is decapitated, impaled, and dismembered as the player attempts to solve each puzzle. The game’s monochromatic artwork, its vague storyline, and these gruesome deaths meant that Limbo, predictably, found its way into various “games as art” conversations. However, this presentation asks whether Limbo can serve as a different kind of boundary object. Given its complete lack of text and its minimalist approach to storytelling, what is the status of Limbo as a literary object?
Stig Andreassen - 25.09.2013 - 14:31
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Digital Games and Electronic Literature: Toward an Intersectional Analysis
The line between electronic literature and digital games has started to blur more than ever. For example, Christine Love’s 2012 Analogue: A Hate Story can be read as a literary “story” that builds on the visual novel form. However, critic Leif Johnson (of IGN) reviewed Analogue as a “game-like experience” and even a “game” that “neatly sidesteps the label of mere ‘interactive fiction’ like Love’s other games thanks to some smart design choices.” Phill Cameron (of Eurogamer) describes Analogue repeatedly as a “game” and also reflects on its deviation from the “interactive fiction” category. The slippage between the language of fiction and games, in such mainstream reviews, reveals a fascinating taxonomic undecidability. Though Analogue’s “textual” focus makes it a natural boundary object between electronic literature and digital games, this tension extends to games that incorporate minimal text or even no text at all. In this presentation, I focus on Thatgamecompany’s third and most critically-acclaimed game, Journey, which was also released in 2012. In Journey, the player guides a mysterious robed avatar through a desert and up a mountain.
Stig Andreassen - 25.09.2013 - 14:46
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Out of Bounds: Searching Deviated Literature in Audiovisual Electronic Environments
In this presentation I propose a close/distant reading of some Argentinean e-poetry works –Migraciones and Outsource me! by Leonardo Solaas and TextField, Eliotians and some of the works of The Disasters by Iván Marino– in order to pose a debate concerning the development of e-poetry in audiovisual electronic environments, particularly e-poetry created by artists/programmers who hardly would defined themselves as poets or writers.To what extent one should still speak about literature concerning this kind of works? Is it possible to find a literary impulse in contexts where literature has lost its privileges and migrates “out of bounds”? If the artists mentioned above lean themselves into literary traditions, why are their works more frequently regarded by visual art critics rather than literary critics? I argue that the works analyzed enable us to resituate literature in inter/trans media contexts, which nevertheless are readable in terms of literary effects.
Scott Rettberg - 04.10.2013 - 11:54
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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
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Entrevista a Pedro Barbosa
Pedro Barbosa recalls in this interview his memories of the first studies and works of electronic literature back in the 1970s when he was a student at the University of Porto. Starting from considerations about his collaborative works he makes a comparison between printed literature tradition and the age of new media focusing on the paradigmatic change of this very transitional period with live in and the differences of the creative work. Furthermore he makes an interesting statement on regard of the aesthetics of new media by comparing works of electronic literature with the oral tradition. In the end he mentions some of the milestones of electronic literature that he considers important.
Daniele Giampà - 22.03.2015 - 15:58
