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1. Transliteracy and Interdisciplinarity in Digital Media Research

   Transliteracy and Interdisciplinarity in Digital Media Research

   Scott Rettberg - 07.01.2013 - 15:20

2. On Moving and Being Moved

   Mark Hansen (2004) argues that the privilege of literature as a technology of communication lies not in its imitation of the flexibility of technical media, but rather in its relationship with the body. This is apparent in the processes by which we acquire alphabetic literacy (how we learn to read and write) and in the reproduction of writing through processes of inscription, dissemination and reception. Newer media technologies are tapping into this relation of intimacy with increasingly greater speed and accuracy (Kittler, Levy). The conversion of text into language calls not only on the cognitive capacities of writers and readers, nor simply on the sense of sight alone. Rather, it mobilises these capacities along with those of all the other sensory modalities, including affect. Language itself is a supramodal synaesthetic medium, as various theories of metaphor make clear. This view of language makes electronic forms a privileged site for understanding the relationship between language, the visual, and the sonic as they are channelled and processed by the senses and temporarily organised in a series of ‘central assemblies'. We take this latter term from the work of Silvan S.

   Scott Rettberg - 07.01.2013 - 22:57

3. Digital Modernism

   A prominent strategy in some works of contemporary electronic literature is the appropriation and adaptation of literary modernism, what I call "digital modernism." This paper examines digital modernism as a strategy relevant to rethinking not only the origins of electronic literature but the ways in which we discuss and understand the field of electronic literature in general. I examine Bob Brown's Readies machine (circa 1930), an avant-garde attempt to speed up text and thus transform literature and reading practices, in relation to works of electronic literature by Young-hae Chang Heavy Industries and William Poundstone. These contemporary works employ Flash to create a flashing aesthetic that resonates with Brown's goals for the Readies. Situating electronic literature within this forgotten but distinctly literary history of machine-based textual experimentation exposes the importance of reading today's new, new media literature in relation to the a movement from the early decades of the twentieth century which sought to "make it new" in the new media of its time.

   Scott Rettberg - 07.01.2013 - 23:29

4. Musical Time with Kinetic Type

   Musical Time with Kinetic Type

   Scott Rettberg - 08.01.2013 - 11:10

5. The Aesthetic of Dissonance within 6amhoover.com

   Within many of the projects on 6amhoover.com disorder and dissonance are fundamental features in the communication. How theses aspects function and their importance in terms the conceptual rationale and participant experience will be detailed and discussed in the presentation with reference to how such an approach sits within a broader aesthetic of dissonance and the context of interactive literary art.

   (Source: Author's abstract, 2008 ELO Conference site)

   Scott Rettberg - 08.01.2013 - 15:40

6. Practical Play: Research and Invention

   Practical Play: Research and Invention

   Scott Rettberg - 08.01.2013 - 23:18

7. Language as Gameplay: From the Oulipo to the Jew's Daughter

   Language as Gameplay: From the Oulipo to the Jew's Daughter

   Jill Walker Rettberg - 28.06.2013 - 10:24

8. The Enduring Ephemeral, or the Future Is a Memory

   New media, like the computer technology on which it relies, races simultaneously towards the future and the past, towards what we might call the bleeding edge of obsolescence. Indeed, rather than asking, What is new media? we might want to ask what seem to be the more important questions: what was new media? and what will it be? To some extent the phenomenon stems from the modifier new: to call something new is to ensure that it will one day be old. The slipperiness of new media—the difficulty of engaging it in the present—is also linked to the speed of its dissemination. Neither the aging nor the speed of the digital, however, explains how or why it has become the new or why the yesterday and tomorrow of new media are often the same thing. Consider concepts such as social networking (MUDS to Second Life), or hot YouTube videos that are already old and old email messages forever circulated and rediscovered as new. This constant repetition, tied to an inhumanly precise and unrelenting clock, points to a factor more important than speed—a nonsimultaneousness of the new, which I argue sustains new media as such.

   (Source: Author's Introduction)

   Alvaro Seica - 20.02.2014 - 12:54

9. poésie dynamique

   Pour analyser la poésie sur ordinateur et la poésie sur le Web (bien que ce dernier n’étant qu’un dérivatif du premier, puisque le coeur, le fond, l’essentiel même du Web réside dans l’ordinateur) nous avons à déblayer le terrain de la route qui nous y a conduit. Il est évident que cette poésie n’a pas surgi du néant. L’approche peut se faire selon trois axes: le premier étant la poésie d’aspect classique mais combinatoire, le deuxième la poésie visuelle et le troisième la poésie
   sonore.

   Alvaro Seica - 10.09.2014 - 13:07

10. alire 13

    alire 13

    Jonathan Baillehache - 10.09.2014 - 20:17

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