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Simon Biggs
Simon Biggs is a visual artist born in Australia, 1957. He moved to the UK in 1986. Since 1978 Biggs has been working with digital and interactive systems in installation, networked and other media. Venues presenting his work include Tate Modern, Whitechapel, Institute of Contemporary Arts (London), Ikon (Birmingham), Centre de Georges Pompidou, Academy de Kunste and Kulturforum (Berlin), Rijksmuseum Twenthe, Macau Arts Museum, Cameraworks (San Francisco), Walker Art Center, Paco des Artes (Sao Paulo), Museo OI (Rio De Janeiro), McDougall Art Gallery (Christchurch), Experimental Art Foundation (Adelaide) and the Art Gallery of New South Wales. He has been keynote at numerous international conferences, most recently at Cornell University's 2010 annual Society for the Humanities Conference. Publications include Autopoeisis (with James Leach, Artwords, 2004), Halo (Film and Video Umbrella, 1998), Magnet (McDougall Art Gallery, 1997) and CD-ROM's Book of Shadows and Great Wall of China (Ellipsis, 1996 and 1999). He is Professor at Edinburgh College of Art. (author-submitted bio).
Elisabeth Nesheim - 12.09.2010 - 19:13
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Rob Wittig
Rob Wittig is co-founder (1983) of IN.S.OMNIA, a literary electronic bulletin board system that pioneered the creative possibilities of the electrosphere and has been termed "legendary" by cyber-chronicler Howard Rheingold. Rob's book, Invisible Rendezvous, Connection and Collaboration in the New Landscape of Electronic Writing (Wesleyan University Press, 1994), based on Fulbright work with Jacques Derrida, is an analysis of this early period of electronic literature. Rob coordinated several collaborations with members of the legendary French experimental literary group Ou.Li.Po. for IN.S.OMNIA. He also created web literature projects such as the faux-vernacular "Fall of the Site of Marsha," the chatroom novel "Friday's Big Meeting," and the hand-illustrated e-mail novel "Blue Company." Rob has worked and played for years in the graphic design and publishing industry. He teaches graphic design, art history and writing studies at the University of Minnesota, Duluth. He completed an MA in Digital Culture at the University of Bergen, Norway in 2011.
Elisabeth Nesheim - 12.09.2010 - 19:21
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Nick Montfort
Nick Montfort's computer-generated books of poetry include #!, the collaboration 2×6, Autopia, and The Truelist, the first in the new Using Electricity series from Counterpath. Among his more than fifty digital projects are the collaborations The Deletionist (with Amaranth Borsuk and Jesper Juul), Sea and Spar Between (with Stephanie Strickland), the translation project Renderings, and the group blog Grand Text Auto, along with his several works of interactive fiction and digital poetry. His collaborations also include the sticker novel Implementation (with Scott Rettberg) and 2002: A Palindrome Story (with William Gillespie). With Ian Bogost, he helped to develop the platform studies approach and edits the corresponding series from MIT Press. He is also editor of the Using Electricity series of computer-generated books from Counterpath. He develops digital artwork for gallery settings and performs livecoding to produce visualizations for musicians.
Elisabeth Nesheim - 12.09.2010 - 19:26
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Jerome Fletcher
Jerome Fletcher is Associate Professor in Performance Writing and Award Leader for MA Performance Writing at the University College Falmouth. His research interests grows directly out of his present practice as a writer and this is divided into two areas - writing for digital media and writing for large scale collaborative installation and performance. The former investigates layering, the confusion between accretion and erasure in writing. the simulataneity of an indivdual and collective reading and the use of the Archive as resource for a writing practice. The latter concerns the tension between scripting and improvisation, collaboration and multimedia, and the actualising of fictionalised personae and spaces.
Elisabeth Nesheim - 12.09.2010 - 20:26
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Maria Engberg
Maria Engberg holds a Ph.D. in English from Uppsala University. At present she is Senior Lecturer at Malmö University and Research Affiliate at the Augmented Environments Lab at Georgia Institute of Technology (US). Prior to this, she was Universitetslektor(Associate Professor) at Blekinge Institute of Technology (BTH). Engberg’s research focuses on digital media theory and practice, media theory, locative media, media aesthetics, digital culture, contemporary experimental literature, visual culture, and the impact of digital technologies on literature and culture with particular focus on digital literature. She also design digital media experiences with particular focus on mixed reality and mobile media. Currently she works on two major AR narrative projects with Jay David Bolter and Michael Joyce.
Elisabeth Nesheim - 12.09.2010 - 20:33
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Hans Kristian Rustad
Hans Kristian Rustad completed his PhD thesis in 2008 in Scandinavian Literature, entitled “Textplay in hypertext”, where he approached electronic literature from an aesthetic reception-theoretical point of view. Currently he is teaching digital aesthetics and semiotics at Hedmark University College in Hamar.
Elisabeth Nesheim - 12.09.2010 - 20:39
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Roberto Simanowski
Roberto Simanowski received his Ph.D. at the University of Jena in 1996, was Research Fellow at University of Göttingen (1997), Postdoctoral Fellow at Harvard University (1998-2000), Visiting Scholar at University of Washington (2001), Visiting Professor for Cultural Studies in Digital Media at University of Jena (2002), and Assistant Professor for German Literature and Digital Aesthetics at Brown University in Providence (2003-2010). Simanowski is the editor of dichtung-digital.org, a German-English journal on digital aesthetics, which he founded in 1999. Besides articles and books on mass-culture in 18th century, nationalism in German literature and literary salon, he has published extensively on digital literature and arts. In 2010, he accepted a position at the University of Basel where he is now professor of media studies.
Patricia Tomaszek - 14.09.2010 - 11:54
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p0es1s
The symposiums to the poetics of digital texts orient themselves provisionally on the following question: They would like to explore and discuss the specific performances and functions of a literature, which is conceptualized or conceived particularly for digital media. As a literature form, those in the field of electronics between innovation (the changed conditions of digital and intertwined writing as well as multimediality) and tradition (resorting to the tradition of the literary avant-gardes) operate, ask themselves even for scientific work the question about the classification and handling of this literature in a media-theory and literature-theory perspective.
Patricia Tomaszek - 14.09.2010 - 12:06
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The Reader as Author as Figure as Text
The paper takes a short look at the much discussed dismissal of the author in hypertext collaborative writing and discusses the role of authorship in three German collaborative writing projects. The results are: 1. Collaboration sometimes works like collaboration with the 'enemy.' The pleasure of some collaborative writing projects therefore comes not so much from the story itself as from what the text reveals about its authors. 2. The attraction of some collaborative writing project lies in the setting more than in the contributed texts. What fails as Netliterature may get a second chance as Netart. 3. If the program of a collaborative writing project automatically and randomly creates the links and develops the structure of the whole, it takes over the collaboration between authors and their texts. The conclusion is: As the text itself becomes more and more part of a technical setting, and as the program moves more and more into the center, the project of collaborative writing increasingly dismisses the reader. To a user who accidentally stops by and starts to read, the text itself doesn't say all that much.
Patricia Tomaszek - 14.09.2010 - 12:19
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Teaching Digital Literature: Didactic and Institutional Aspects
Digital media is increasingly finding its way into the discussions of the humanities classroom. But while we have a number of grand theoretical texts about digital literature we as yet have little in the way of resources for discussing the down-to-earth practices of research, teaching, and curriculum necessary for this work to mature. The book Reading Moving Letters, edited by Roberto Simanowski, Jörgen Schäfer and Peter Gendolla, addresses this need and provides examinations by nine scholars and teachers from different national academic backgrounds. While the first section of the book provides definitions of digital literature as a discipline of scholarly treatment in the humanities, the second section asks how and why we should teach digital literature and conduct close readings in academia and discusses institutional considerations necessary to take into account when implementing digital literature into curricula. The following text is the introduction to section two.
Patricia Tomaszek - 14.09.2010 - 12:33
