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1. From ALAMO to Transitoire Observable: evolution of the French digital literature

   The presentation provides a historical overview of the evolution of electronic literature in France from the ALAMO group, an outgrowth of the OULIPO focused on combinatory aesthetics, through to the present day.

   Scott Rettberg - 03.10.2010 - 22:28

2. The Poetry Beyond Text Project

   This presentation gives an overview on the research project "Poetry Beyond Text: Vision, Text and Cognition" (2009 – 2011), funded by the U.K. Arts and Humanities Research Council, emphasizing areas of potential connection with ELMCIP, and raising issues relevant to electronic literature.

   Patricia Tomaszek - 15.10.2010 - 16:52

3. From Oral Poetry to Tridimensional Poetry

   Memory defines human existence both individually and collectively: it is necessary for the evolution of the person and society. The loss of memory leads to the physical and intellectual death of identity. In order to avoid and exorcise existential oblivion, mankind has developed systems to pass on memory and preserve it. One of the oldest of these is poetry that, thanks to its rhythm and rhyme, makes the precise memorizing of a text easier. Thus it effectively communicates the deeds of heroes as well as the prayers, ideals and sentiments that characterize human beings and their culture. Society, thanks also to the heritage of knowledge that has been passed down, continues to evolve and change rapidly: the new technologies transform art, modifying the codes of language and above all the inclusion and typology of the data that constitutes the collective memory. In the era of motion pictures poetry loses some of its evocative effect and its function for transmission. The visual memory is predominant because the brain assimilates information without making the effort of concentrating and decoding input, for example from the sound to the word or from the sign to the word.

   Patricia Tomaszek - 12.01.2011 - 16:47

4. The ppg256 Series of Minimal Poetry Generators

   I discuss the four Perl poetry generators I have developed in the ppg256 series. My discussion of each program begins with the entire 256 characters of code and continues with an explication of this code, a description of aspects of my development process, and a discussion of how my thinking about computation and poetry developed during that process. In writing these programs, I came to understand more about the importance of framing to the reception of texts as poems, about how computational poetic concepts of part of speech might differ from established linguistic ones, about morphological and syntactical variability, and about how to usefully think about possible texts as being drawn from a probability distribution.

   (Source: Author's abstract)

   Scott Rettberg - 26.03.2011 - 17:39

5. Aesthetic Animism: Digital Poetry as Ontological Probe

   Digital poetry is a multimedia hybrid-art-form, a subset of visual language fusing with digital technology, increasingly mediated by networks. Contemporary poems are animated interfaces; and they often utilize dynamic interactive typography superimposed over video, generative or 3D environments. A brief list of the disciplines involved: visual art, sound composition, literature, media studies, computer programming.

   Multimedia-hybrid digital poetry means that the term ‘text’ is insufficient.
   Future theorists will require terminology specific to the domain, I suggest:

   -TAV (text-audio-visual)
   - TAVT (a tav in a 3D territory)
   - TAVIT (an interactive tavt)

   Patricia Tomaszek - 04.07.2011 - 12:11

6. Mobilizing the Poli

   A detailed review of Judd Morrissey and Mark Jeffery’s The Precession. Published July 14, 2011.

   --

   Judd Morrissey’s newest work, theprecession.org is a website that redefines the act of reading literature on the internet in order to draw attention to the ways that reading is changing in our world. The website truly functions as the new book, with chapters that organize his intentions within the project into discrete capitulations of his ideas. My paper is mostly an analysis of the centerpiece of the website, POLI, because of its time-based nature: it uses real-time data capture and provides an extended period of time for the reading of the piece itself. POLI is a significant piece of contemporary literature because of its consciousness becomes political comment through the uses of our various languages.

   Scott Rettberg - 22.07.2011 - 13:08

7. Slow Games, Slow Poems: The Act of Deliberation in "Slow Year"

   “Video games are actions,” declared Alexander Galloway in a manifesto that stakes out the
   essential differences between videogames and other forms of expressive culture, such as
   literature, photography, and cinema. But what about videogames in which action looks like
   inaction? What about videogames in which action means sitting still? What about a videogame
   that purports to be less a game and more a meditation—a work of literature? In this paper
   I explore a prominent yet remarkably understudied example of a slow game—a game that
   questions what counts as “action” in videogames. This game is A Slow Year (2010), designed
   for the classic Atari 2600 console by Ian Bogost. Comprised of four separate movements
   matching the four seasons, A Slow Year challenges the dominant mode of action in videogames,
   encouraging what I call “acts of deliberation.” These acts of deliberation transform the core
   mechanic of games from “action” (as Galloway would put it) into “experience”—and not just
   any experience, but the kind of experience that Walter Benjamin identifies as Erfahrung, an
   

   Eric Dean Rasmussen - 21.06.2012 - 12:55

8. Literary Programming (In the Age of Digital Transliteration)

   This paper is proposed as the second part of an essay, the first part of which was presented at DAC'98, having the overall title 'Performances of Writing in the Age of Digital Transliteration'. Part one of this essay raised questions -- contextualized by reference to Walter Benjamin and Friedrich Kittler, amongst others -- concerning the intrinsically digital characteristics of text, along with certain implications of these characteristics (and what they have entailed, specifically and especially: the Net) for traditional literary culture, for the latter's critique, and for textual, especially artistic textual practices.

   Scott Rettberg - 19.01.2013 - 01:23

9. The Virtualization of Poetry and Self

   As with other world-changing discoveries or events, the use of computers and the Web have contributed to the ‘virtualization’ of ‘the ideas domain’ of poetry. By virtualization it is assumed that something has been made virtual. But not virtual as understood by the scientists or by commerce or by the entertainment industry that see virtualization as the transferring of a function from one physical form to another, like a virtual surgery with patient and doctors in separate physical locations or a virtual on-line marketplace like eBay or a virtual terrain as in virtual reality (VR) games. The virtualization of poetry does not mean taking the function of poetry in print or in performance and transferring it to the web, although this can be and has been a result of the virtualization. The virtualization of poetry has meant that the ideas domain of poetry has been re-thought and new questions and problems posited as a result of the new digital technologies. It has also meant that new actualizations have been realized in media that were not available to the poet in the past.

   (Source: Author's abstract)

   Scott Rettberg - 30.01.2013 - 17:36

10. Digital Word in a Palm: Digital Poetry between Reading and immersive Bodily Experience

    Poetry’s traditional role as the lyric atmospheres and projective saying provider is fundamentally being challenged by information technologies that are able to create their own particular atmospheres, new ways of user related text organization, and novel generations of hybrid and artificial languages. Novel textual practices are emerging in which presentation, linear way of narrative, depths, and meaning are being replaced with liquid textscape, blog- based remixability, the multi-sensuous textscape experience and special effects (e.g. Amy Alexander’s VJ shows featuring text-based visuals generated live from Internet engines queries). Text is undergoing radical shifts in its nature addressing both the author and the reader; within a new media paradigm we are facing the digital verbal with the new properties, which allow people to write, read, communicate, learn, explore and create in novel ways.

    Scott Rettberg - 30.01.2013 - 21:52

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