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From Literary Digital Creative Writing to Digital Literature Teaching in France: A Preliminary Survey
From Literary Digital Creative Writing to Digital Literature Teaching in France: A Preliminary Survey
Maria Engberg - 03.03.2013 - 11:08
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The magnificent 7
The aim of this paper, titled “The magnificent Seven” as an echo of the homonymous film, is to introduce the works of different authors that have been included in the Electronic Literature Collection (vol. II) and that are not in English. Following the panel that the ELO introduced in Maryland that opened the e-lit works in languages other that English, here the step has moved convincingly forward since 12 authors from countries such as Brazil, Portugal, France, Israel, Belgium, Colombia, Germany, Perú, México, Catalonia and Spain have been introduced in the vastest English corpus. Some of these authors write in English or have had their works translated into English (Tisselli, Berkehenger, Kruglanski, etc.) but this paper, included in a specific panel that deals with e-lit works non written in English, will analyze in an exercise of “close-reading”, this “magnificent seven” works in Romance languages on the collection: Isaías Herrero’s La casa sota el temps and Universo molécula, Doménico Chiappe’s Tierra de extracción, Ton Ferret’s The fuguebook, Chico Marinho et al. Palavrador and Amor de Clarice and Poemas no meio du caminho by Rui Torres.
Audun Andreassen - 14.03.2013 - 15:46
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Intersecting Approaches to Electronic Literature: Close-Reading Code, Content, and Cartographies in “William Poundstone’s “Project for the Tachistoscope: [Bottomless Pit]”
What does it mean to close read electronic literature? Should one closely engage the screenic content, the programming code, or the operating patterns of a work? This panel proposes that critical analysis need not be limited to one approach or one focal point of attention, and seeks to demonstrate what can be gained when scholars collaborate to apply multiple methodologies to engage a single work. All three panelists will read the same work of digital literature, William Poundstone’s “Project for the Tachistoscope: [Bottomless Pit]” (EL Collection, vol.1), but using three different critical methods with the collaborative goal of approaches that mutually inform and enrich each other. Jessica Pressman will approach the Flash-based animation from the lens of traditional literary hermeneutics, close reading the onscreen literary aesthetics to explore the relationships between form and content as well as locate the points of aporia and mystery that traditional reading strategies are left struggling to explain.
Audun Andreassen - 10.04.2013 - 11:12
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Closer again!
A semiotic appoach of animated figures in The Dreamlife of letters by Brian Kim Stefans. In many research works of these last years (for example in my book Matières textuelles sur support numérique, 2007), I tried to circumscribe the stylistic features of digital literature. More specifically, I aimed to identify the processes by which “figures of animation” and “figures of manipulation” in e-literature defamiliarize the conventions of digital discourse. In a recent article (“Digital literature - a question of style”, Reading moving letters, ed. Simanowski/Schäfer/Gendolla, 2009), I have already presented a close reading of The Dreamlife of Letters by Brian Kim Stefans; in order to characterize the textual animations in this work, I had recourse to traditional figures of speech (apocope, metathesis, etc.). The result was a large catalogue of figures - a “taxonomic explosion”.
Audun Andreassen - 10.04.2013 - 11:46
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Cyberfeminist Theories and the Benefits of Teaching Cyberfeminist Literature
The aim of this article is to show what feminist electronic literature can contribute to the study of gender theories and feminist literature. The study of feminist hypertext fictions and the use of hypertext as a teaching tool is facilitated by the intrinsic characteristics of the electronic medium, complementing the electronic medium and providing alternative possibilities in the learning process: collaborative authorship, multivocality, textual openness, non-hierarchical and rhizomatic structures, neo-kathartic effects and open publishing. Teaching feminist electronic literature using the hypertext offers the possibility of updating and discussing gender through a medium that permits rearranging the hypertext, better organized analyses of intertextuality and fostering the study through association and connections, which is the way the human brain works. The teaching method proposed pursues the objective of studying narratives about gender taking advantage of the new technologies without losing dialogues in class as intuitive learning process.
Maya Zalbidea - 22.08.2013 - 13:36
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Considerações Acerca do Código Fonte na Poesia Digital
This article has aims on mapping and analyzing aspects of computer science, on how they affect creation, aesthetic reception and operating mode of digital poetry. Specifically, it means to look at the programming language as part of the creation and constitution of the digital literary work, as that which stands behind what is shown to the reader, as a restriction and potentiality of creation, and as a signifier in a construction that has its own materiality as a giver of meaning And finally, it intends on comprehending up to what point the knowledge of these modes and mediums are necessary for both the creation and reception of the digital literary works.
English Reference: TAVARES, O. G. "Considerations regarding the source code of digital poetry". Revista de Letras, São Paulo, v.50, n.2, p. 447-467, jul. /dez. 2010.
(Source: Author's Abstract)
Alvaro Seica - 02.12.2013 - 10:20
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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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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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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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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
