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1. Digital Literature and the Modernist Problem

   What is the status of digital literature in contemporary culture? Many scholars and practitioners assume that digital literature constitutes a contemporary avant-garde, which does its work of experimentation outside or in opposition to the mainstream. The notion of the avant-garde might seem thoroughly out of date in a consideration of the digital future. Important theorists (e.g. Huyssen, Drucker) have argued that the avant-garde is no longer viable even for traditional media and art practices. On the other hand, the avant-gardes of twentieth-century modernism made claims about the function of art that remain surprisingly influential today – within the art community and within popular culture. As Peter Bürger and others have discussed, an important division grew up in modernism on the question of whether art should strive for formal innovation or for sociopolitical change. Avant-gardes of the twentieth century took up positions along a spectrum from pure formalism (e.g. the Abstract Expressionists) to overt political action (e.g. the Situationists).

   Maria Engberg - 27.11.2011 - 00:59

2. Writing to be Found and Writing Readers

   Poetic writing for programmable and network media seems to have been captivated by the affordances of new media and questions of whether or not and if so, how certain novel, media-constituted properties and methods of literary objects require us to reassess and reconfigure the literary itself. What if we shift our attention decidedly to practices, processes, procedures — towards ways of writing and ways of reading rather than dwelling on either textual artifacts themselves (even time-based literary objects) or the concepts underpinning objects-as-artifact? What else can we do, given that we must now write on, for, and with the net which is itself no object but a seething mass of manifold processes?

   Eric Dean Rasmussen - 01.12.2011 - 10:59

3. Massively Multireader: A Networked Teaching of House of Leaves across Five Classrooms

   Why read an incredibly complex novel by yourself when you can tackle it with 60 other students across the nation? This presentation will report on a cross-campus experiment in scholarly communication, digital making, and classroom shifting at five public, private, and small liberal arts schools.

   Patricia Tomaszek - 03.12.2011 - 19:00

4. Digital poetry: Comparative textual performances in trans-medial spaces

   This study extends work on notions of space and performance developed by media and poetry theorists. I particularly analyze how contemporary technologies re-define the writing space of digital poetry making by investigating the configuration and the function of this space in the writing of the digital poem. Thus, I employ David Jay Bolter's concept of "topographic" digital writing and propose the term "trans-medial" space to describe the computer space in which the digital poem exists, emerges, and is experienced. With origins in Italian Futurism, the literary avant-garde of the first half of twentieth century, digital poetry extends the creative repertoire of this experimental poetry tradition using computers in the composition, generation, or presentation of texts. Because these poems convey a perception of space as changeable and multiple (made of computer screen and code spaces), this "trans-medial" space is both self-transformative (forms itself as it self-transforms) and transforming (transforms what it contains).

   Jill Walker Rettberg - 05.12.2011 - 13:22

5. Against Expression: An Anthology of Conceptual Writing

   In much the same way that photography forced painting to move in new directions, the advent of the World Wide Web, with its proliferation of easily transferable and manipulated text, forces us to think about writing, creativity, and the materiality of language in new ways. In Against Expression, editors Craig Dworkin and Kenneth Goldsmith present the most innovative works responding to the challenges posed by these developments. Charles Bernstein has described conceptual poetry as "poetry pregnant with thought." Against Expression, the premier anthology of conceptual writing, presents work that is by turns thoughtful, funny, provocative, and disturbing. Dworkin and Goldsmith, two of the leading spokespersons and practitioners of conceptual writing, chart the trajectory of the conceptual aesthetic from early precursors including Samuel Beckett and Marcel Duchamp to the most prominent of today’s writers.

   Jill Walker Rettberg - 09.12.2011 - 10:03

6. Hypertext Revisited: The Issue of Non-Sequentiality in Print and Digital Literature

   In this keynote, Baetens argues that the difference between print and digital literature is shrinking, because print literature has embraced the digital revolution. He proceeds to compare installment narrative to hypertext literature, looking at five aspects, where he finds that hypertext literature fails in relation to installment narrative. 

   Jill Walker Rettberg - 09.12.2011 - 10:14

7. Playing with time in digital fiction

   Playing with time in digital fiction

   Jill Walker Rettberg - 09.12.2011 - 10:42

8. Digital Text: writing with the hand and fingers

   Digital Text: writing with the hand and fingers

   Jill Walker Rettberg - 09.12.2011 - 10:43

9. The Poetics of Sound in e-literature and the Avant-Garde tradition

   The Poetics of Sound in e-literature and the Avant-Garde tradition

   Jill Walker Rettberg - 09.12.2011 - 10:43

10. Warfare and Conventionality: How avant-garde computer-generated text can be

    Computer generated text has been considered warfare carried out against conventionality and was accordingly tagged “cybernetic Dadaism”, which seems to be obvious given that most computer generated text is nonsensical. However, there are attempts to have the machine generate meaningful text ideally indistinguishable from text by a human. This is where the problem starts. If a machine aims to be as good as a human writer, can it still afford to do what a human writer may aim at: writing like a machine? Wouldn’t any idiosyncratic style – which might in conventionally generated literature be understood as avant-garde – be perceived as a failure of the program? In other words: Can literature be avant-garde (or rather: advanced) in both, its way of production as well as its style? The lecture will discuss the issue with a closer look at Michael Mateas’ and Andrew Stern’s interactive drama Façade.

    Jill Walker Rettberg - 09.12.2011 - 10:44

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