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Archiving Roundtable
Listed as one of the main themes of the Bergen 2015 ELO conference is the following question: is “electronic literature” a transitional term that will become obsolete as literary uses of computational media and devices become ubiquitous? If so, what comes after electronic literature?
The notion of obsolescence has been a recurring issue in electronic literature since at least 2002, the date of the ELO Conference at UCLA. At that time, archiving became a general concern in the field. ELO responded with documents such as Born-Again Bits, Acid-Free Bits, and the ELC 1 and 2 Collections. Since that time, with the continual evolution of computational media and devices, the problems of archiving have continued to grow more complicated. The panel proposes to address issues of Archiving based on this re-wording of the conference theme: is electronic literature a transitional practice that will become obsolete as the multiplication of forms of both computational media and devices make literary artifacts more and more difficult to preserve?
Hannah Ackermans - 31.10.2015 - 10:54
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Narrative Theory after Electronic Literature
Over the last thirty years, we have spoken about electronic literature in terms of its newness. Scholars have emphasized new ways of reading, challenges to closure, and entirely new models for composition. From the earliest books in the 1980s through recent scholarship in this maturing field, critics have sought out the unique features of the electronic medium. Ludologists, in particular, have challenged attempts to reduce electronic literature to a variation on older print forms.
Hannah Ackermans - 11.11.2015 - 16:22
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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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Almanacco Letterario Bompiani 1962
A periodical about the theme of electronic calculators and computers applied to moral sciences and literature, subtitled "Le applicazioni dei calcolatori elettronici alle scienze morali e alla letteratura".
"Tape Mark I" appears published here for the first time (pp. 145-151).
The 324-page collection contains works by Nanni Balestrini, Giovanni Anceschi, Silvio Ceccato, Umberto Eco, Karl Gerstner, Bruno Munari, Dieter Rot, among other authors.
Alvaro Seica - 19.02.2016 - 17:52
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Aesthetic Animism: Digital Poetry's Ontological Implications
This book offers a decoder for some of the new forms of poetry enabled by digital technology. Examining many of the strange technological vectors converging on language, it proposes a poetics appropriate to the digital era while connecting digital poetry to traditional poetry’s concerns with being (a.k.a. ontological implications). Digital poetry, in this context, is not simply a descendent of the book. Digital poems are not necessarily “poems” or written by “poets”; they are found in ads, conceptual art, interactive displays, performative projects, games, or apps. Poetic tools include algorithms, browsers, social media, and data. Code blossoms into poetic objects and poetic proto-organisms. Introducing the terms TAVs (Textual-Audio-Visuals) and TAVITS (Textual-Audio-Visual-Interactive), Aesthetic Animism theorizes a relation between scientific method and literary analysis; considers the temporal implications of animation software; and links software studies to creative writing. Above all it introduces many examples of digital poetry within a playful yet considered flexible taxonomy.
Alvaro Seica - 22.09.2016 - 15:10
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O Experimentalismo como Invenção, Transgressão e Metamorfose: A PO.EX Revisitada Através de Po-ex.net
O experimentalismo português iniciou-se na década de 1960, com um propósito comum de conferir ao acto poético valores artísticos, políticos e sociológicos assentes numa ruptura de vanguarda. O presente ensaio situa a intervenção experimental como invenção, transgressão e metamorfose, visto que perpassa as obras dos autores de "Poesia Experimental" e, mais tarde, de um novo conjunto de autores que exploraram a poesia visual, sonora, digital e a performance. Através do arquivo Po-ex.net, que documenta e dissemina o seu estudo, traçam-se dois itinerários, revisitando algumas das obras com carácter interventivo e transformativo, desde os anos 1960 até à actualidade.
(Fonte: Resumo dos Autores)
Alvaro Seica - 07.11.2016 - 17:36
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Digital Poetry and Critical Discourse: A Network of Self-References?
This article emerges from macroanalysis of several works of critical writing in the field of digital poetry, which have been documented in the ELMCIP Knowledge Base. The problems addressed in this context are the self-referentiality exhibited by authors who are both practitioners and theoreticians, and the need for a wider selection of digital poems in critical discourse. The dataset consists of monographs and Ph.D. dissertations on digital poetry (1995-2015), which have been exported into visualization software. Macro and network analyses enable new debate concerning the outlined problems and new findings. My findings suggest that criticism in this domain is chiefly endogenous and that a limited number of poems is being canonized. Therefore, a meta-discourse perspective can pave the way for an external view of the field, concerning its epistemology and evolution. The dataset is available online for download and can be tested and reconsidered by other researchers.
(Source: Author's Abstract)
Alvaro Seica - 07.11.2016 - 18:08
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Optische Poesie: Von den prähistorischen Schriftzeichen bis zu den digitalen Experimenten der Gegenwart
Klaus Peter Dencker, visual poet, Germanist and media theorist, documents the spectrum of forms of optical poetry from its pre-historic beginnings up to the present digital age. The compendium provides a typology of optical poetry, an international historical overview with many illustrations and several chronological tables together with indexes of subjects and names providing access to the comprehensive apparatus of notes. (Source: https://www.degruyter.com/view/product/176646)
Alvaro Seica - 10.02.2017 - 12:41
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P(r)o(bl)emas @ telePoesis > Práticas e Processos na Programação de Poesia
A talk-performance delivered at the University of Coimbra on Torres's praxis. The talk was scripted with a constraint with the letter P. Bruno Ministro assisted by changing 'slides.'
Alvaro Seica - 31.03.2017 - 11:31
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Collapsing Generation and Reception: Holes as Electronic Literary Impermanence
This essay discusses Holes, a ten syllable one-line-per-day work of digital poetry that is written by Graham Allen, and published by James O’Sullivan’s New Binary Press. The authors, through their involvement with the piece, explore how such iterative works challenge literary notions of fixity. Using Holes as representative of “organic” database literature, the play between electronic literature, origins, autobiography, and the edition are explored. A description of Holes is provided for the benefit of readers, before the literary consequences of such works are examined, using deconstruction as the critical framework. After the initial outline of the poem, the discussion is largely centred around Derrida’s deconstruction of “the centre”. Finally, the literary database as art is re-evaluated, drawing parallels between e-lit, the absence of the centre, and the idea of the “deconstructive poem”.
Kristen Lillvis - 07.06.2017 - 20:42
