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My Life in Three Parts
"My Life in Three Parts" addresses the question of how personal identity is influenced by the language of the web. Our online interactions are often circumscribed by tracking software and various social networks. As a result, our identities--how we view ourselves and how others view us--are shaped and expressed, in part, by personal browsing practices and the vocabulary associated with those practices. So what do our autobiographies look like in this new world? To answer this question, "My Life in Three Parts" ignores the conventions of traditional autobiography in favor of oblique readings of iconic visual symbols, terminology, and concepts found online within the private and social web-spaces of shopping, art, and mathematics. This work uses text, images, audio, and videos to create a synthesized narrative of the self. Nothing about personal identity is clear in this work: the life behind the story is only implied.
Jill Walker Rettberg - 19.06.2014 - 20:27
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A manifesto supporting a creative digital literature
L’école comme l’université ont trop long- temps asservi l’écriture au seul dogme de l’accès aux savoirs et à l’injonction de la communication.
Elles l’ont cantonnée à un rôle instrumental, en marge du sillage du capitalisme cognitif (Yann Moulier Boutang), à travers des modes de production industrielle des connaissances, la vidant peu à peu de ses dimensions artistiques, esthétiques et politiques (Luc Dall’Armellina, a).
La situation est telle aujourd’hui qu’écrire n’est plus pour la plupart des élèves et étudiants qu’un passage obligé, une compétence parmi d’autres, une technique qu’il faut bien manipuler puisqu’elle est nécessaire pour réussir à l’école, quelle que soit sa discipline.
Scott Rettberg - 19.06.2014 - 20:27
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The danger of a simple story
This presentation uses Chimamanda Adichie’s lecture The Danger of Single Story as a starting point to discuss how new media technologies can be used to counteract the simplistic narratives typically assigned to marginalized communities and allow for a more nuanced depiction. By examining two of the presenter’s multiformat, multi-year, transmedia documentary projects: Closer: A Journey with Charles and Punk Rock Mommy: Ephemeral the question of complexity versus economy will be addressed. The discussion will address: creative process, strategies for shared authorship that provide the subject with agency, justification for the technological variety, and respond to the challenges of this approach. With multiple channels containing varied information some viewers/readers/participants become disinterested where others find themselves immersed in the narrative. Mainstream audiences sometimes prefer the minimal investment required by a narrative where the text clearly states how one should feel about a subject.
Scott Rettberg - 19.06.2014 - 20:30
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Visualizing la(e)ng(-u-)age
Electronic literature not only engages “new media” elements (such as links, navigation, structure, animation, color, images, sound, computer programming) but also toys with the very foundation of literature—the language itself. After 20 years, we need to look back to remind people about these en(gag)(-tangl-)ements. As language is rapidly shifting with new te(xt )chnologies, we need to look ahead to see where electronic literature can engage with these emerging forms of language.
First, I will briefly present previous works to provide a history of electronic literature’s engagement with language. I will cover:
Character-augmented languages such as:
· Talan Memmott’s Lexia to Perplexia and Mez’ mezzangle (languages using regular fonts which add or subtract characters to words to create other words, usually employing parentheses)
· My work-in-progress Chronic (a handwritten language which adds or subtracts letters in a similar manner but employing upper characters to add letters and overbars to subtract letters)
Visual languages such as:
Scott Rettberg - 19.06.2014 - 20:31
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Collaborative Creativity in New Media (roundtable)
A presentation of the joint course "Collaborative Creativity in New Media" which took place in 2013 at the University of Bergen. Involving students and faculty from Bergen, the University of Minnesota Duluth, Temple University, and West Virginia University, the course was an experiment in developing a new model for teaching electronic literature and new media arts production as a collaborative process.
Scott Rettberg - 19.06.2014 - 20:41
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Life Poetry Told by Sensors
Life Poetry Told by Sensors
Jill Walker Rettberg - 19.06.2014 - 20:43
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Postcommunist E-lit
Lenin proclaimed that communism is the soviets at power plus electrification of the whole country. Constructivists, starting with A. Gan (1912) were advocating mechanical approach to creation in accordance with the communist ideology of anti-elitist art for people. Velimir Khlebnikov and Roman Jakobson demonstrated the tools for poetic demontage of the language. Later on the years of inventive underground samizdat publishing and circulation practice provided for wider understanding of textual materialities. Despite the rich technological and poetic experimentation history, the emergence of neteratura (net literature), or cyberature (cyberliterature) took place only in the 1990s under the influence from the States. Runet (Russian language segment of the Internet), although its first very few users were singular scientists in the 1980s, started publicly as a literary phenomenon with Dmitry Manin's Bout Rimes (1995) and Roman Leibov's ROMAN (1995), Zhurnal.ru, and Moshkov Library.
(Source: Authors Abstract)
Scott Rettberg - 19.06.2014 - 20:43
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The formation of the field of electronic literature in Poland
Polish electronic literature developed in parallel to similar work in Western Europe and the United States. The difference was context – the first Polish digital literary experiments appeared during the heyday of communism in the 1970s. The Polish author Robert Szczerbowski came up with his untitled hypertext about the same time Michael Joyce wrote afternoon. a story – just a few years after the end of martial law in Poland. As the first literary works on floppy discs appeared at the beginning of the 1990s, Polish society was in the midst of a profound political transformation which began in 1989. These political events coincided with the development of technology, which influenced the fields of literature and art. Because of the Iron Curtain, the country’s isolation and its artists lack of deeper contacts with their Western counterparts, the status of literature was constructed differently, with its impact and obligations defined by ethics rather than aesthetics.
Scott Rettberg - 19.06.2014 - 20:45
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A Beam of Light: Reading the Portuguese Electronic Literature Collection
This intervention presents an analysis of the Portuguese Electronic Literature Collection (PELC) I have been curating since August 2013 in the ELMCIP Electronic Literature Knowledge Base. By aggregating and expanding existing records in the database and creating new ones, I have been developing a research collection that addresses the Portuguese creative and theoretical production since the 1960s in the broader field of electronic literature. The PELC uses resources from ELMCIP and PO.EX, the Digital Archive of Portuguese Experimental Literature, led by Rui Torres at the Fernando Pessoa University.
Scott Rettberg - 19.06.2014 - 20:47
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New Novel Machines: Nanowatt and World Clock
My Winchester’s Nightmare: A Novel Machine (1999) was developed to bring the interactor’s input and the system’s output together into a texture like that of novelistic prose. Almost fifteen years later, after an electronic literature practice mainly related to poetry, I have developed two new “novel machines.” Rather than being works of interactive fiction, one is a demoscene production (specifically, a single-loading VIC-20 demo) and the other a novel generator.
Alvaro Seica - 19.06.2014 - 23:49
