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1. Electronic Literature and the Mashup of Analog and Digital Code

   This essay examines the complexity of contemporary electronic literary practice. It evaluates how electronic literature borrows from, and also influences, the reception of the textual message in other forms of communication that efficiently combine image, sound and text as binary data, as information that is compiled in any format of choice with the use of the computer. The text aims to assess what it means to write in literary fashion in a time when crossing over from one creative field to another is ubiquitous and transparent in cultural production. To accomplish this, I relate electronic literature to the concept of intertextuality as defined by Fredric Jameson in postmodernism, and assess the complexity of writing not only with words, but also with other forms of communication, particularly video. I also discuss Roland Barthes’s principles of digital and analogical code to recontextualize intertextuality in electronic writing as a practice part of new media. Moreover, I discuss a few examples of electronic literature in relation to mass media logo production, and relate them to the concept of remix.

   Patricia Tomaszek - 06.05.2011 - 15:17

2. The Machine in the Text, and the Text in the Machine

   "The Machine in the Text, and the Text in the Machine" is a review essay on Electronic Literature: New Horizons for the Literary (Notre Dame, IN: University of Notre Dame, 2008), by N. Katherine Hayles, and Mechanisms: New Media and the Forensic Imagination (Cambridge, Mass.: MIT Press, 2008), by Matthew G. Kirschenbaum. Both works make remarkable contributions for the emerging field of digital literary studies and for the theory of digital media. While Hayles analyses the interaction between humans and computing machines as embodied in electronic works, Kirschenbaum conceptualizes digitality at the level of inscription and establishes a social text rationale for electronic objects.

   (Source: DHQ)

   Eric Dean Rasmussen - 13.09.2011 - 14:23

3. L’escriptura literària en l’era digital

   L’escriptura literària en l’era digital

   Sandra Hurtado - 01.12.2011 - 15:40

4. Poesia luso-brasileira contemporânea: do verbo ao pixel

   This article intends to reflect upon the place of poetry in the teaching of literature and the formation of the reader, considering the recurrent metaphors and images in the interfaces of the
   discourse of the hypermedia, among the languages provided by the Technology of Information and Communication (TIC) in contemporary society. It aims to demonstrate the possible experiences of reading and aesthetic appreciation which offers to the user/reader for the exercise of creativity and autonomy in the construction of collective intelligence. In order to do so, it focuses on the production of the Luso-Brazilian literature in hypermedia with emphasis on the remarkable presence of the Portuguese experimental poetry in the construction of digital poetry and the Brazilian cyberliterature in present time.

   (Source: Author's Abstract)

   Rui Torres - 04.12.2011 - 17:52

5. Shelley Jackson : femme-machine. L’imaginaire cyborg de Patchwork Girl (1995) et My Body & A Wunderkammer (1997)

   Shelley Jackson : femme-machine. L’imaginaire cyborg de Patchwork Girl (1995) et My Body & A Wunderkammer (1997)

   Arnaud Regnauld - 05.03.2012 - 14:59

6. The Paratexts of Inanimate Alice: Thresholds, Genre Expectations and Status

   In her book Writing Machines, N. Katherine Hayles described the concept of thetechnotext. Hayles used this concept to provide an analysis of a range of texts, including online work, based on their materiality. The analysis described in this article complements this method by developing an approach that explores the conditions of production of contemporary digital literature. It achieves this aim by providing a close reading of the online paratextual elements associated with the first four episodes ofInanimate Alice by Kate Pullinger and Chris Joseph. In doing so, it modifies the print-based analytical framework provide by Gérard Genette and others to develop a detailed account of the off-site, on-site and in-file paratexts of this online work. It sets out a range of thresholds that mould the reception of this text. It also notes how they position it within wider discourses about genre, media, literature and literacy. This article concludes by exploring the limits of this paratextual reading. It discusses whether it provides an adequate account of the material conditions of these texts.

   Jill Walker Rettberg - 02.06.2012 - 14:25

7. Graphic Sublime: On the Art and Designwriting of Kate Armstrong and Michael Tippet

   This critical essay was written for the Prairie Art Gallery catalogue presenting Kate Armstrong's and Michael Tippett's Grafik Dynamo! Its argument, implied in the catalogue version, can be stated explicitly in the present scholarly format, namely that narrative, associated with the development of the modern novel in print, is distinctly unsuited to literary arts produced in and for the electronic medium. Narrative in the Dynamo! is not entirely absent, but its dominance is put into question. The same holds for the place of argumentation in critical writing. The Dynamo! develops episodically, haunted by the comics, and by the popular and literary narratives it samples; the essay develops similarly, in blocks of partly autobiographical, partly analytical text. Propositions emerge not sequentially or through feats of interpretation, but at the moment when a block of text encounters a cited image from the Dynamo!

   Eric Dean Rasmussen - 22.06.2012 - 12:13

8. Formen digitaler Literatur 2.0

   0. Einleitung
   1.1-2. Hypertexte: Merkmale und Theorie; der Link
   1.3. Vorläufer des digitalen Hypertexts
   1.4. Beispiel 1: Michael Joyce: afternoon, a story (1987)
   1.5. Beispiel 2: Shelly Jackson: Patchwork Girl (1995)
   1.6-9. Beispiele 3-5, Hyperpoetry
   2.1. Multimediale Dichtung: Visuelle und kinetische Poesie; Vorläufer
   2.2. Beispiele digitaler visueller Poesie; Stuttgarter Gruppe
   2.3. Bewegte Lettern, dreidimensionale Texte, multimediale Datenwerke
   2.4. Lautpoesie und Text-Musik-Kombinationen
   3.1. Dichtungsgeneratoren: Permutative Generatoren
   3.2. Fortgeschrittene Textgeneratoren
   4. Literarische Computerspiele
   5. Program Code Poetry
   6. Resümee
   Bibliographie

   Johannes Auer - 22.11.2012 - 16:27

9. Ce livre qui n'en est pas un: le texte littéraire électronique

   Un texte littéraire électronique est écrit en code et ne peut exister sous forme imprimée. C’est une forme spécifique qui existe depuis la création dans les années 1970 des jeux d’aventures textuels (Willie Crowther et Don Woods, Adventure). Elle s’est développée de par l’exploitation de liens hypertextuels (Shelley Jackson, Patchwork Girl), d’éléments hypermédias, et s’oriente à présent vers la sophistication croissante des moyens mis en œuvre pour que le lecteur participe à la création de l’œuvre (Stuart Moulthrop, Pax). Le rapport entre jeux et textes reste très fort, au point que certains arguent que les jeux d’ordinateur actuels sont des œuvres littéraires électroniques. La forme est hantée par la fragilité de ses supports, et son économie semble reposer sur la gratuité.

   Jill Walker Rettberg - 02.07.2013 - 15:10

10. A Hiperperiferia do Ponto: Para uma Defesa da Raposa

    An experimental proposal for the topic of ‘dot’ and the theme ‘singularities’, this essay deals with
    different types of dots in architecture, visual arts, literature, music, and contemporary society, not
    proposing the concept of dot as the most relevant in art, but, instead, the concept of path. The essay does so by refuting the notion of ‘punctum’ presented by Roland Barthes in La Chambre Claire (1980), and accepting Paul Virilio’s notion of ‘path’ in his seminal oeuvre. In this sense, by constructing an analogy with Euclidean geometry, I subdivide the essay into three nonlinear points, presenting the notions of ‘periphery’ and ‘hyperperiphery’ to better understand a critique of image, art, literature, social media, society, and, therefore, making clear my thesis: the plan.

    (Source: Author's Abstract)

    Alvaro Seica - 26.09.2014 - 12:25

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