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Bridging Intertextuality and Intermediality from a Cultural and Literary Perspective
In this paper we argue that technological applications, and the intermedial practices that the World Wide Web allow can play an important role in developing educational and cultural policies and practices, expanding the stock of shared heritage while maintaining cultural diversity, and multiplicity, despite problems such as accessibility, the digital divide and growing economic focus, copyright and open-access, the organization of vast amounts of information and its preservation as part of our cultural heritage. Our previous research has emphasized the potential of intermediality to serve as a model that not only increases our understanding of the mechanisms of media convergence but also applies to parallel phenomena in intercultural and educational contexts. We have proposed that the basis for a constructive conceptualisation of social change is mediated through technology and that the good use of intermediality as a vehicle for socio-cultural needs to be further explored, both theoretical and practically, in its aspects of production, distribution, and usability.
Eric Dean Rasmussen - 27.01.2011 - 16:21
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Polish Way to E-Literature from Baroque to 21st Century
In this paper I present the origins of Polish proto-hypertexts starting from the Baroqe and ending at the communist period. The comparative approach shows us that the Polish roots of e-literature are - to a large extent - linked with European ones. In the Baroque we see the rise of Polish ergodic works (among others Wojciech Wa?niowski, of Teodor's Jakub Tr?becki, Miko?aj Lubomirski). Twentieth century avant-garde give us some more examples of works of poetry and fiction that employ with words and images (e.g. Julian Przybo?,). But stiil these examples may be regarded as mirror-images of the proto-cybertexts of French, German, or Italian authors.
It was only after the Second World War that this has changed, although more in terms of quantity than quality. The communism didn't disturb and even supported the works of concrete poetry (e.g. Stanis?aw Dro?d?) to come into existence. The better part of the heritage of our native concrete poetry movement was reshaped in the last decades of XXth century by authors whose works were given the label of "Liberatura" – total literature in which the text and the physical, spatial aspects of a book constitute an inseparable whole.
Eric Dean Rasmussen - 27.01.2011 - 16:24
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New Media Literary: Hypertextual, Cybertextual, and Networked
The presentation deals with the problem of new media literacy, as compound of digital and network paradigm – whose differences with Web 2.0 are rapidly disappearing. However, the differentiation between digital and network is necessary in order to translate textual typology into cultural analysis – the hidden mission of new media theory from the very beginning.
First generation of hypertextual theoreticians detected hypertextuality as the basis of new media literacy – nonlinearity, interactivity and openness of the text were seen as democratisation of literacy. The presentation will try to demonstrate that hypertextuality is only a component of the digital paradigm, which is marked by broader flexibility of the text as productive apparatus. (That productivity of digital deconstructionist and poststructuralist theory connected with interpretation, but productivity is conducted, as Espen Aarseth pointed out, at the level of mechanical production.)
Eric Dean Rasmussen - 27.01.2011 - 16:28
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Hypertext and bigos: On esthetic categories of modern and post-modern Polish fiction that may help us describe electronic literature in yet another way
Bigos is one of the trademark meals Poland can offer to the world of culinary traditions. Fried cabbage, slices of sauseges, vegetables, mashrooms, and almost anything a chef has at hand can be put into one pot and eventually become a delicious, warming up dish. Quite similiar technique can be seen in a certain tradition of novel writing that appeared during the Renaissance and Baroque in Poland, then flourished in XX century post-modern Polish fiction, but actually dates back to the Romans. It is called silva rerum ("a forest of things") and stands for a fragmentary, anti-mimetic, open-ended, essayistic kind of writing, which emphasizes its own status as a process rather than a product. As such, silvae rerum and its examples can form an interesting contribution to the field of electronic writing and hypertext theory. With the latter deriving its tools mostly from avant-garde and poststructuralist esthetics, silvae rerum can stand out as an alternative: it represents open-ended act of simultaneous "reading-writing", yet it comes not from the common fields of reference for e-lit scholars.
Eric Dean Rasmussen - 27.01.2011 - 16:39
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Teaching Digital Literature within a “Research and Teaching Partnership” in a Transatlantic Blended Learning Environment
This paper outlines the practices of teaching digital literature at the University of Siegen in Germany where Peter Gendolla and Joergen Schaefer taught courses on literature in computer-based media for students of both Literary and Media Studies. This paper thus provides an historical synopsis of the didactical transformations the teaching practices have undergone as well as an overview of the University’s profile and its focus on research and teaching literary studies. In 2007, the classroom moved online and held a class transatlantically in cooperation with Roberto Simanowski (Brown University/Providence, RI, USA). The online course approached an experimental Blended Learning concept. The paper introduces the methodological concept of the class “Digital Aesthetics” and discusses using Online Communication Systems in the context of the course of studies: Net Literature.
Eric Dean Rasmussen - 27.01.2011 - 16:52
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Some stylistic devices on media interface
author-submitted abstract: In the past, the “innovations” of electronic poetry often have been circumscribed in rather general terms; today, it seems important to characterize its stylistic, semantic and pragmatic devices with more precision. The traditional “figures of speech” have sometimes been considered as capable of achieving this aim. By denominations like “animated metaphor”, I have tried for example in my book Matières textuelles sur support numérique to describe “phenomena of meaning” in electronic literature, when animation effects enter in meaningful relations with the contents of words or letters. It is however undoubtedly dangerous to use a terminology which have been forged to characterize textual phenomena, whereas the signs of electronic texts are often based on various semiotic systems. In a recent article for the review Protée (which I also presented during the e-poetry seminar in Paris), while describing what I would call “figures of speech on media surface”, I sometimes continue to use traditional taxonomies; in order to avoid too dangerous analogies, I try in other cases to invent a new terminology.
Eric Dean Rasmussen - 27.01.2011 - 16:57
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Intertextuality in Digital Poetry
Despite postmodern and deconstructivist studies in the field, interxtuality is still often viewed as a process of textual closure: in that vision a text refers to an older text, and once we have found the source, the intertextual interpretation is completed.
Riffatterre, for example, seems to suggest this in his article ‘Intertextuality vs Hypertextuality’ (1994). Riffaterre stated here that intertextuality and hypertextuality should be distinguished, since the former is finite, while the latter is infinite. He defines hypertextuality as ‘the use of the computer to transcend the linearity of the written text by building an endless series of imagined connections, from verbal associations to possible worlds, extending the glosses or the marginalia from the footnotes of yesteryear to metatexts’ (Riffaterre 1994: 780) Intertextuality, on the other hand, ‘depends on a system of difficulties to be reckoned with, of limitations in our freedom of choice, of exclusions, since it is by renouncing incompatible associations within the text that we come to identify in the intertext their compatible counterparts’ (ibid: 781).
Eric Dean Rasmussen - 27.01.2011 - 17:01
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E-Formes 1 : Ecritures visuelles sur support numérique
E-Formes 1 : Ecritures visuelles sur support numérique
Scott Rettberg - 30.01.2011 - 17:46
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The Role of the Reader in Performative Digital Poetry
The object of digital poetry has been claimed to be the process initiated by the user and therefore dynamic. What is processed and made visible on screen is what Philippe Bootz (2007) calls the “texte-à-voir”, what we are given to see and what is only a selection of the underlying artwork. For digital poetry the processes executed by a programming language is the material the artist uses. Following Burgaud (2006) the user is “reading a process”. With the focus on the processes instead of the “object” the description and analysis of digital poetry is facing the problem that what the reader can see on the screen is not enough to understand the art work. Especially the change from a conceptual verbal art read in front of a computer screen mostly by an individual reader to installation art, caves to performances on stage including text, music, and dance and to performances in virtual environments such as Second Life ask for descriptions that are able to deal with the dynamics of those processes.
Eric Dean Rasmussen - 02.02.2011 - 15:09
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Endless Text: New Media Technologies in The Raw Shark Texts
Since the digital revolution of the 1990’s, the ‘end’ of literature has been often proclaimed from both a utopian and apocalyptic perspective. While the former has imagined a release of the literary from the constraints of paper and print, in the animation of letters and words, the latter has lamented the end of reading and writing as ‘we’ know it. However, as clear as the opposition between the hopeful visions of theorists such as George Landow and the nostalgic lament of critics like Steven Birkerts may be, their respective stances are easily disclosed as two sides of the same coin: both the positive and negative presentations of the end of literature build on the subtext that literature ‘is’ something; an inside (a space, or a practice) that is either creatively challenged or threatened from the outside – as if it were a backward country or a country under threat, to be opened up and developed or protected respectively. This paper challenges such a distinction between inside and outside by reading ‘literature’ as an interface of other media technologies.
Eric Dean Rasmussen - 02.02.2011 - 15:42
