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Literatura digital. Cul de Sac
¿La literatura electrónica está en un callejón sin salida, en un cul du sac sin escapatoria?Para el gran público sólo existe la literatura digitalizada. Los e-books, los e-readers, la industria de la autopublicación, las tabletas, las bibliotecas digitales, las editoriales en red, etc. Para que pueda revivir y encontrar una plasmación real, viva, que importe al mundo, deben darse las siguientes condiciones: 1. Que el corpus de obras digitales (no digitalizadas) de calidad y populares aumente exponencialmente. 2. Que el texto, que las palabras, vuelvan a estar en el centro de la obra, algo que la anteriormente citada van Dijk menciona al hablar de las críticas que Simanowski hace al arte digital en cuanto que canibaliza el texto, que olvida lo realmente importante, la historia, para ocultarla con unos efectos especiales que a pocos interesan. 3. Que exista una crítica profesional severa sobre las obras digitales.
Maya Zalbidea - 15.03.2014 - 20:20
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Literatures in the Digital Age. Theory and Praxis
Nowadays minds tend to be nomad and bodies tend to have a sedentary lifestyle. We may dare formulate another paradox: if orality went together with nomadism, and writing with sedentarism, perhaps that is the reason why e-writing is using orality as a model for communication. In any case, we should be aware of metaphors we use. Within the process of converting the digital medium to a privileged space for information, communication and culture (in this sequence), we observe that two of the greatest impacts on literature arising from technology have been, in the first place, electronic editions for didactic and scientific purposes, and, secondly, the advent of digital literature, that is, literary works that have been created specially for the computer. The editors, Amelia Sanz and Dolores Romero are both lecturers at Universidad Complutense de Madrid, Spain. Dr. Sanz has developed theoretical reflections on key concepts of twentieth century critical theory, such as intertextuality, systemic approaches, interculturality and hypertextuality.
Maya Zalbidea - 23.07.2014 - 14:12
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Entrevista con Domenico Chiappe
In this interview Domenico Chiappe describes his works of both electronic literature and print literature published between the years 2000-2012. He gives insight into the interesting collaborative work for the work of electronic literature and ponders about the difference of the two forms of expressions: the printed book and new media. His then articulates discourse about the language of new media taking in account the SMS Literature and his concept of hiperphonia. On regard of the new possibilities provided by new media technology, he maintains that there should be a certain balance and harmony of the audio-visual effects and the written texts.
Daniele Giampà - 12.11.2014 - 20:01
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Writing Coastlines: Locating Narrative Resonance in Transatlantic Communications Networks
The term ‘writing coastlines’ implies a double meaning. The word ‘writing’ refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances, and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. The term ‘writing coastlines’ may refer to writing about coastlines, but the coastlines themselves are also writing insofar as they are translating physical processes into marks and actions. Coastlines are the shifting terrains where land and water meet, always neither land nor water and always both. The physical processes enacted by waves and winds may result in marks and actions associated with both erosion and accretion. Writing coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, both points of departure and sites of exchange. One coastline implies another, implores a far shore. The dialogue implied by this entreaty intrigues me.
J. R. Carpenter - 22.11.2014 - 21:44
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Mapping the Convergence of Networked Digital Literature and Net Art onto the Modes of Production
In this paper I argue that the restrictions imposed by technological barriers within select forms of digital literature and net art are cause for the success of these works from the early internet to the present—the technological restrictions themselves guided their formulation. Arguably, the
constraints create the aesthetic context in which the works thrive, while the artist figure
transforms into mechanical producer.Magnus Lindstrøm - 17.02.2015 - 15:53
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Posthumanism and Electronic Literature
Posthumanism, according to Cary Wolfe, "names a historical moment in which the decentering of the human by its imbrication in technical, medical, informatic, and economic networks is increasingly impossible to ignore" (xv-xvi). This conference paper brings the framework of posthumanist philosophy to bear on the field of electronic literature, at a critical moment in time wherein our conception of the human, and of literature, are fundamentally questioned through digital technology. I argue that humanist philosophy is explicitly tied to the rise of print literature, via Elizabeth Eisenstein (1979), while posthumanism is linked with digital media (Wolfe 2010) and, by extension, electronic literature. Furthermore, posthumanism interrogates assumptions of autonomy and subjectivity inherited from humanism, and via cybernetics articulates an image of the human as another information-processing machine. Electronic literature's reliance and amalgamation of natural and artificial languages (most noticeable in “codework”) reflects the posthumanist critique of the supposed binaries between human and machine.
Thor Baukhol Madsen - 17.02.2015 - 16:02
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The tensions of digital literature
Les tensions de la littérature numérique
La littérature numérique repose sur des tensions qui contribuent à asseoir sa spécificité : tension des supports, de l’écriture programmée, des médias, de l’expérience esthétique. Le terme tension ne signifie pas forcément conflit, mais suggère qu’il y a des évidences déconstruites des deux côtés. Ce peut être une tension créatrice.
- Tension des supports
La LN met en tension des formes culturelles, littéraires et artistiques héritées de l’imprimé et des formes nées avec le numérique. La tension des supports ne concerne pas seulement la tension entre support numérique et support imprimé, mais également la tension entre les différents supports de restitution (pouvant correspondre par exemple à tout un dispositif de monstration dans le cadre d’une installation ou d’une performance).Daniela Ørvik - 19.02.2015 - 14:23
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Toward. Some. Air.
Remarks on Poetics of Mad Affect, Militancy, Feminism, Demotic Rhythms, Emptying, Intervention, Reluctance, Indigeneity, Immediacy, Lyric Conceptualism, Commons, Pastoral Margins, Desire, Ambivalence, Disability, The Digital, and Other Practices Edited by Amy De’Ath and Fred Wah Toward. Some. Air. is a landmark collection of profiles of contemporary poets, statements, essays, conversations about contemporary poetry and poetic practice, and a few exemplary poems selected by up-and-coming poet and scholar Amy De’Ath and Governor General’s Award-winning, former Parliamentary Poet Laureate Fred Wah. The over 40 contributors to this anthology are renowned poets and academics from Canada, the United States, and the United Kingdom. Toward. Some. Air. is an open invitation to consider the various contours and meanings of Anglophone poetic practice, as a way of interpreting the world around us. An invaluable critical resource with unprecedented scope, this is a book that speaks to the future of contemporary poetics and writing poetry.
J. R. Carpenter - 10.05.2015 - 11:17
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Liberdade
Liberdade [Freedom in Portuguese] is a collaborative digital creation that promotes a dialogue between poetry and videogame languages. Both immersive and interactive, integrating poetic language and technological forms, the work reproduces parts of Liberdade, a neighborhood in São Paulo, allowing users to metaphorically explore the concept of memory. These programmed environments can be saved by readers as personal memories. The convergence of stories (mostly microtales), animations (such as stop-motion and video fragments), poems, and a variety of sound textures, provides an experience that challenges ways of reading and writing in programmed 3D environments. Created at the Federal University of Santa Catarina, Brazil, in 2013, by Chico Marinho and Alckmar Santos, with the help of programmer Lucas Junqueira and writer Álvaro Andrade Garcia, a future version of this complex simulated experience will evolve into a multiplayer version, in which different readers/users will be able to interact with each other's memories of the reading experience.
Hannah Ackermans - 11.09.2015 - 11:08
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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
