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Electronic Literature as Action and Event: Participatory Culture and “The Literary”
ractices of public and performative electronic writing connect our arts movement to important sites of social transformation, beginning with the resistance to neoliberalism in government and academia, and potentially touching larger questions about relations of mass and elite culture.
This panel comprises three papers, two by creator/conveners of participatory projects, the third by an interested theorist. The creators offer reflections on the meaning of participatory engagement based on their own experiences with the form. The theory paper adds some more abstract reflections addressing questions of general concern to electronic literature as a cultural movement.
Electronic Literature and the Public Literary
Stuart Moulthrop (University of Wisconsin-Milwaukee)Hannah Ackermans - 14.11.2015 - 15:16
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The Electronic Literature, How, When, Where
The term Electronic Literature (EL) is already obsolete, just as the term contemporary art. The obsolescence of words depends on the changes that the content of their meanings are undergoing. These contents change in the light of the technical-logical progress. Their own form changes giving ultimately rise to new signs and signifiers. New concepts generate new interpretations.
The change of technological processes introduces new types of communication and of social relations. These changes weaken the rules of linguistics. The content and the meaning of words change, as well as their own signs that are used to define the EL and to describe what comes from it as an end: politics, social philosophy, aesthetics, ethics, business, and business ethics. The works that are produced through the EL undergo changes and have an outreach that involve a dialogue on an augmented art synchronically developed on a augmented reality perceived through the use of new technologies.
Hannah Ackermans - 14.11.2015 - 15:23
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The Myth of the End of a Myth
In the first part of the paper, examining different implicit or explicit conceptions of digital literature (combinatory in relationship with IA, combinatory in relationship with Max Bense, generation in relationship with Automatic treatment of language, animation in relationship with programmed forms, hypertext in relationship with the French Theory…), I argue that digital literature does not exist as an object but as a field in the sense of Bourdieu. As it is not an object, we cannot define it. As it is a social strength and movement, it cannot begin no end, we can only name it, or not, in a symbolic language. As a field, it obeys inside symbolic conflicts as they appear from the inside, as an heterogeneous domain. But as a field, it acts into the society – from the outside it appears as a consistent structured domain.
Hannah Ackermans - 14.11.2015 - 15:27
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E-literary Diaspora – The Story of a Young Scholar's Journey from Writing to Faces
In my dissertation from 2013 I close read pieces by David Jhave Johnston, mez and Johannes Hélden among others, with an interest in multimodal analysis and media philosophy. Back then, I chose to characterize Electronic Literature metaphorically as a literary diaspora in continuation of historical literary avant-gardes. The title of this years ELO conference made me think of e-lit as a new diaspora in itself – a culture, a movement, a family with historical roots, traditions and habits but already with several branches, new subdivisions and blends. The title of the conference also gave me the encouraging thought that I am still an e-lit scholar, though my current research project “Technologies of the Face in Contemporary Art” belongs to the tradition of visual art and new media art in a broader sense In my paper, I will closely analyze a piece that has proved to be a threshold between my two research projects and explain why. The installation The Aleph is made by Kim Yong Hun and was displayed in the ELO 2012 Media Art Show. It consists of two computer screens producing the images of two faces.
Hannah Ackermans - 14.11.2015 - 15:31
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Latin American Electronic Literature and Its Own Ends
Framed by the theme of the 2015 ELO conference, the paper will examine several interwoven kinds of ends concerning Latin American electronic literature. In this case, the theme is particularly appealing when we consider specific aesthetic/political ends frequently pursued in Latin American contexts and when we situate this thought from “the end of the world”. In fact, being at one of the edges of the world, metaphorically and/or literally, drives one to specific aesthetic/political responses that take position in relation to hegemonic global imaginaries of technological modernisation.
Hannah Ackermans - 14.11.2015 - 15:36
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Interaction Between Art and Literature in Arab Digital Poetry and the Issue of Criticism
This paper aims to reveal the interaction between art and literature in Arab interactive digital poetry, and the issue of criticism.
Most of Arab and foreign critics that study digital literature agree that interactive poetry goes far beyond the concept of Archigtext to an even broader concept than that of Archigenre, as this genre can be said to be Archiarts. Then, digital poems can be said to mean open texts that include all artistic and literary genres.
Hannah Ackermans - 14.11.2015 - 15:40
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Publishing without a Publisher's Peritext: Electronic Literature, the Web, and Paratextual Integrity
With the book-based paratext theory Paratext: Thresholds of Interpretation (1987/1997), literary scholar Gérard Genette provides a tool that allows to examine how books ensure the text’s presence in the world, its “reception” and consumption (Genette 1).
Hannah Ackermans - 14.11.2015 - 15:43
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A Language Apparatus
Through the creative projects Bodytext, Tower and Crosstalk the author explores how language and communication function in a hybridized context where human and machine are responsible for both the articulation and interpretation of texts. The dynamics of such a hybrid apparatus allow insights into how the making of meaning and its reception can be considered as a socio-technical system, with implications for how people are situated and instantiated.
Bodytext, Tower and Crosstalk are language based digitally mediated performance installations. They each use progressive developments of generative and interpretative grammar systems. Bodytext (2010) was authored in Adobe Director and coded in Lingo and C++. Tower (2011) was developed with a bespoke large scale immersive virtual reality simulator and was coded in Python. Crosstalk (2014) was developed and coded in Processing.
Hannah Ackermans - 14.11.2015 - 15:46
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Aurature and the End(s) of Electronic Literature
The question of electronic literature – its definition, existence, significance, relationship with literature (plain and simple) – has always been bound up with questions of media and medium. New media. Electronic media. Media qualified by digital, computational, networked, programmable and so on. And all of these terms hypostasize practices while encapsulating and concealing an even more fundamental problem concerning their medium in the sense of artistic medium. Historically, as of this present, an electronic literature exists. It exists significantly, as corpus and practice, and as an institutionally supported cultural formation. It has established a relationship to literature as such, and this is also, to an extent, institutionally recognized. However, questions and confusions concerning media – signaled understandably but inappropriately by the absurd, skewmorphic misdirection of “electronic” – remain encapsulated in “literature” itself. The medium of literature is not letters or even writing. The medium of literature is language.
Hannah Ackermans - 14.11.2015 - 15:50
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From Mechanism to Subjectivity: The Posthumanist Performativity of Electronic Literature
In my earlier research, I have drafted a theory of literary communication using programmable and networked media based on Actor-Network Theory (e.g., “Reassembling the Literary: Toward a Theoretical Framework for Literary Communication in Computer-Based Media”, in Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres, eds. Jörgen Schäfer and Peter Gendolla, pp. 25-70). In this optic, the conceptions of “actor-networks”, or more precisely, the conceptions of distributed agencies and of chains of translations between human and non-human actors provide us with a framework that helps to relate human dispositions and corporeal activities, variable activity roles of human actors in the literary system (as “author”, “editor”, “reader”, etc.), changing media technologies and various literary procedures. The semantic field of “nets” and “networks” acquires a special significance because it stresses the uncertainty about sources of action.
Hannah Ackermans - 14.11.2015 - 15:55