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WYSIWYG and WYSIWII: the Materiality of Digital Literature.
In this paper, I depart from the notion of digital literature trying to look beyond the linguistic layer of digitability as proposed by Simanovski (2010). Thus, the main goal of my discussion is to face some specific problems regarding both theoretical and instructional perceptions of digital literature: the creative process, the technological conditions and software limits in the production of a media art object, and the literary materialities digitally present. To demonstrate how these constructs and circumstances affect the production and the reception of an object perceived as literary and digital from its planning, I will propose a challenging reading of O Cosmonauta by Alckmar dos Santos and Wilton Azevedo.
(Source: Author's Abstract, ICDMT 2016)
Hannah Ackermans - 08.12.2016 - 15:16
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The media materiality as a “dance of agency” – Performing Literary Text with Substances
Shelley Jackson’s Snow does not easily conform to established literary categories or interpretative strategies – words written on snow are evanescent and fragile, vanishing as soon as the surface on which they had been inscribed melts away. The text in progress is offered to the audience only as the documentation of the artist’s own acts of inscription, made available through the accounts on Flickr and Instagram dedicated to the project. Additionally, reading the story in a traditional way on Instagram is possible only in reverse order of the photostream. In my presentation I would like to broaden the notion of a literary text taking into consideration the very materiality of this project’s affordances – especially the specificity of the inscription surface, evoked to the audience with photos regularly uploaded to Instagram (which itself can be seen as a domain of fluidity with its constantly changing visual stream). What I am particularly interested in is the specific mode of meaning distribution – in this case performed between the evaporating substance, photographic documentation and networked media.
(Source: Author's Abstract, ICDMT 2016)
Hannah Ackermans - 08.12.2016 - 15:25
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The Face by Dürer: Intermedial Genealogies of German Physiognomic Science from Printed Book to Digital Art Bridged through an Online Keyword Thesaurus
From a theoretical framework of cognitive semiotics, emotion history, and image science, Schiller’s scholarship focuses on the media genealogies of physiognomy, the science of facial expression, and digital biometrics. He analyzes how artists and scientists use media to interpret from the outside physiological behavior of the face the psychological phenomena inside an individual; the visual rhetoric of these methodologies; and how face images can inform display rules, social scripting, and truth claims for emotion in society. Schiller is also an internationally exhibited artist. Across the media genealogies of physiognomic science in the German-speaking countries, artists researching at the intersection of art, science, and technology have from the “form” [Greek physis] of the face “interpreted” [gnṓmōn] characteristics such as temperament and emotion.
Hannah Ackermans - 12.12.2016 - 14:25
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Eduardo: a Multimedia Story by a Swiss Army Knife Journalist
One thing that cannot be denied is that whereas there have been countless online publications before the world wide web, it has been the late development of the web that transformed communication patterns and, particularly information textuality and the journalistic arena. Among profound and unceasing changes, one can stand out the online versions of traditional media outlets, but obviously the originally online stories, created to be experienced as multimedia journalistic pieces. It is within this field that Eduardo’s story belongs, in the piece “O que é isso de vida independente” [What is that of an independent life?] by the Portuguese multimedia journalist Vera Moutinho. In this paper, I will explore Eduardo’s story, which elects the visual and sound plasticity as drivers of the reading experience, to examine how significance is built across multiple media and unfolds undertones throughout each moment.
(source: Author's Abstract at ICDMT 2016)
Hannah Ackermans - 12.12.2016 - 14:29
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Swipe to Turn the “Page”: Metafiction in the Story App The Monster at The End of This Book
Some children story apps have incorporated a reflexivity typical of the metafictive picturebook but this reflexivity is altered in the digital medium by the possibility of interaction – as the reader is addressed by the story, there is in interactive texts the possibility of a response that affects the narrative. The construction of metafiction is also changed by the extended multimodality of these texts, that now incorporate movement and sound, for example, creating a different kind of immersion from that promoted by the image-writing dynamics of the print picturebook. In this paper, I will discuss the realization of metafiction through the participation of the reader in the app The Monster at the End of This Book (Stone & Smollin, 2011).
(Source: Author's Abstract at ICDMT 2016)
Hannah Ackermans - 12.12.2016 - 14:33
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Medium Matters? Medium Matters Not? A Reflection on the Storytelling Mechanism across Media
We have been witnessing computer technology moving stories from page to digital platforms for years. Although we do have scholars, such as Espen Aarseth (1997), who have demonstrated the similarities of textual behaviours (not necessarily of narrative texts) based on different media, vast amount of studies tend to focus on the differences between digital storytelling and non-digital storytelling. Instead of questioning how digital media is different from non-digital media in terms of storytelling, this presentation will follow the footsteps of scholars who see the similarities rather than differences in different textualities, and will seek a perspective or position that transcends medium in the discourse of storytelling.
Hannah Ackermans - 12.12.2016 - 14:36
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Design of Transmedia Publishing for Scientific and Artistic Researches
How to design an open access journal that could enhance, at the same level of expectations, classical academic and scientific articles as well as digital artistic artworks? What kind of expectations should it meet in order to feel the needs of such mixed editorial production? How could it respond to the specific needs of both types of works? (…) Based on two enquiries that we realized among the Electronic Literature Organization community, we will present a first state of the art on the design of scientific & artistic publication on digital and hybrid journals. We will be focusing on examples of technical solutions (printed journals with online complements, Web platforms, online and printable PDF, enhanced ebooks), and analyse the ‘horizon of expectation’ (Jauss) built by each model and the reader-type expected.
(Source: Author's abstract at ICDMT 2016)
Hannah Ackermans - 12.12.2016 - 14:45
