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Creativity as a Social Relation?
Social science in general and anthropology in particular has long attended to core concerns with the structure and form of societies, and with the constant interplay of individual and collective elements. These concerns are obvious: how we understand the emergence and form of human worlds necessitates an approach to creative agency alongside the conditions under which that agency is exercised. As Marx famously wrote in 1852, ‘Men make their own history, but they do not make it as they please’. But recent scholarship in the field of anthropology has taken theorising beyond the familiar impasses of structure and agency through an emphasis on practice (e.g. Bourdieu 1977) and on to the embodied and improvisational nature of knowledge and social action (e.g. Ingold 2000, Hallam & Ingold 2007). Creativity is central here. But creativity conceived not as individual genius (an approach that generates questions about how the individual and the collective collide; one clearly linked to other assumptions Westerners make about the bounded-ness of individual minds, and the proprietary nature of the self), but creativity as an emergent (and necessary) aspect of social relations.
Elisabeth Nesheim - 27.08.2012 - 13:33
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Field Notes From The Secret War Between Value and Meaning in Digital Culture
The crisp air of technological promise is increasingly permeated by comments reinforcing the view that digital culture is understandable as a fringe phenomenon. Linguistic evidence — 'zines, "being wired," cybersurfing, Mondo Internet — is encountered in verbal manifestations of a view that considers digital culture as more than an activity; it is seen as a state of mind in full bloom. These and other signifiers evince a specialist language that signals the creative growth of digital culture; a growth originally led more by fierce allegiance to an intrinsic communitarian mission than more superficial possibilities of capital gain. The permanent citizens of digital culture are the pioneers, activists, and defenders of its realm; they make it, they take it, they shape it, because there is no other culture like it. Likewise, their own lives have been transformed by the premise and promise of non-geographical community. Community, digital culture knows, revolves around the fulcrum of distributed communication as an ethical principle, and any innovations inherent in the culture are offered as communicative devices to this end.
Scott Rettberg - 19.01.2013 - 16:52
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From Theo Lutz to Netzliteratur. The Development of German-Language Electronic Literature
How and where would we have to begin if we want to bring the rather diverse
German-language scene of net literature to a closer attention of our European colleagues?
This definitely is no easy task, since today there are virtually no forums and archives of
German-language net literature existing anymore. Therefore it may not be possible to get an
accurate picture of the last 20 years’ net literature. Many sites and forums have been deleted
from the net, while others remain virtually inactive for years and have to be perceived as
internet archive corpses. A few are still active and provide material for current discussions.Source: Author's Introduction
Patricia Tomaszek - 25.02.2013 - 16:05
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William Poundstone and the Aesthetics of Digital Literature
This paper will discuss the work of Los Angeles-based writer and digital artist William Poundstone. Poundstone, who makes his living writing books for a popular audience on subjects such as cryptography, philosophical and mathematical conundrums, economics and even a biography of Carl Sagan, has a growing, but still quite small, reputation as one of the most intellectually challenging, playful, and artistically distinctive web artists. His “New Digital Emblems” is probably his most ambitious work, and operates somewhere between a documentary about the history of visual and ludic writing—ranging across centuries and focusing most profoundly on the Renaissance emblem books—and an original artistic creation, as it includes several of his own “digital emblems.” Other works, such as “Project for Tachistoscope,” challenge our ways of reading as this narrative is presented as a mix of basic “Wing Dings”-style iconography and text, presented in synch one image/word combination at a time.
Audun Andreassen - 10.04.2013 - 12:53
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Dichtung Digital 42
The second Dichtung Digital issue of two focused on Electronic Literature Communities, an output of the ELMCIP (Electronic Literature as Model of Creativity and Innovation in Practice) project.
Patricia Tomaszek - 29.04.2013 - 15:51
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Growing up Digital: The Emergence of E-Lit Communities in Spain. The Case of Catalonia “And the Rest is Literature”
Starting with the famous last words of Hamlet “and the rest is silence”, I would like to introduce Catalan e-lit communities and their experience of digital literature. The Hermeneia Research Group has been one of the pioneers in the field in Spain and has been developing many different activities for the last ten years. Lately it has been promoting a public debate in Literary Societies on Digital Literature (Premis Octubre in Valencia (2009), Catalan and Castillian Association of Writers (AELC/ACEC), Spanish Society of Comparative Literature, Alacant (2010) etc.). Certainly, the celebration of the e‐poetry festival 2009 in Barcelona was one of the big events that supported this open debate on that matter. In this paper there is a special space for one of these activities, which – for the last five years – we have been trying to encourage: creativity. The establishment of the international Ciutat de Vinaròs awards is one of these activities.
Patricia Tomaszek - 29.04.2013 - 15:59
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Topdown Digital Literature: The Effects of Institutional Collaborations and Communities
Contrary to what one might think, institutions play an important role in the production, preservation, and funding of electronic literature. Due to the absence of traditional gate-watchers like publishers and newspaper critics, the function of selection, distribution, and reception of this work has been taken over partly by anthologies, reviews and criticism that are produced in an academic climate. Artists need the necessary channels for preservation, distribution, and critical evaluation of the work, channels that have the power to create “cultural capital”. Even the production of work often takes place in an academic or institutional setting. Literary festivals, conferences and workshops form temporary communities in which planned collaboration takes place. This article addresses institutionalized and planned collaboration and its effects on the production, the presentation, and the content of digital literature.
(Source: Author's abstract)
Patricia Tomaszek - 29.04.2013 - 16:01
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From Concrete to Digital Poetry: Driving Down the Road of Continuity? A Personal Report from Norway
In this contribution I discuss my practice as concrete and visual poet with a special mode of creation from paper-based works to digital video-poems. I trace my path through the paper by describing some of my earlier works that built the basis for the concepts behind the animated works svevedikt (2006), LYMS (2009), when (2011), and natyr (2013). My aim is to express my artistic position at the time I visited the E-Poetry Festival in Paris 2007, and thereby entered the “e-lit-family” for the first time. It is my wish to explain how I experienced the festival in several ways: the relation between the presentation of papers and works, the variety of the works and performances, the impressions of meeting a well-established community, and a comparison between the festival and arrangements in the late sixties from an ideological perspective. To accomplish this, I will (after a short discussion of terms and contextualization) provide a description of my background as visual artist, and the different sorts of poetry I have created before I entered the electronic literature community in 2007. Then I want to focus on how I was influenced by the festival and the community.
Patricia Tomaszek - 29.04.2013 - 16:03
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Offshore of Writing: E-literature and the Island
The broad aim of this paper is to contribute to a discussion on some aspects of the relationship between e-literature, spatiality and site-specificity. The context for this particular investigation is a major initiative for the establishment and development of an Academy of New Media and Digital Arts (see below) on the Italian island of Procida, one of the three islands that sit in the Bay of Naples. Within this initiative, e-literature as both practice and community plays a central role.
One question which inevitable arises from the Procida project concerns the discrepancy between the geographical situatedness of the Academy on the one hand, and the dispersed nature of networked e-lit communities and of e-literature as a practice on the other. How will the relationship between site and network play out?
Scott Rettberg - 25.06.2013 - 14:19
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The Ballad of the Internet Nutball: Chaining Rhetorical Visions from the Margins of the Margins to the Mainstream in the Xenaverse
This dissertation is just one portal into the cyberspace-based virtual world called the "Xenaverse," so named because of its association with the world-wide syndicated television program, "Xena: Warrior Princess." The Xenaverse cannot be contained by this dissertation, but this project seeks to link and merge with the webbed Xenaverse culture in cyberspace. To learn about the Xenaverse you must step through a portal, become immersed and explore, both within and beyond the blurred boundaries of this dissertation, and into the Xenaverse itself. When you are ready to leave, you will have to find your way out, for just as this hypertextual dissertation has an entry portal, it also has an exit portal, a space for you to debrief and share your thoughts on your way out, to contribute to the ongoing dialogue that is this dissertation web on the Internet.
Patricia Tomaszek - 02.10.2015 - 10:51
