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Life Poetry Told by Sensors
Life Poetry Told by Sensors
Jill Walker Rettberg - 19.06.2014 - 20:43
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Postcommunist E-lit
Lenin proclaimed that communism is the soviets at power plus electrification of the whole country. Constructivists, starting with A. Gan (1912) were advocating mechanical approach to creation in accordance with the communist ideology of anti-elitist art for people. Velimir Khlebnikov and Roman Jakobson demonstrated the tools for poetic demontage of the language. Later on the years of inventive underground samizdat publishing and circulation practice provided for wider understanding of textual materialities. Despite the rich technological and poetic experimentation history, the emergence of neteratura (net literature), or cyberature (cyberliterature) took place only in the 1990s under the influence from the States. Runet (Russian language segment of the Internet), although its first very few users were singular scientists in the 1980s, started publicly as a literary phenomenon with Dmitry Manin's Bout Rimes (1995) and Roman Leibov's ROMAN (1995), Zhurnal.ru, and Moshkov Library.
(Source: Authors Abstract)
Scott Rettberg - 19.06.2014 - 20:43
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The formation of the field of electronic literature in Poland
Polish electronic literature developed in parallel to similar work in Western Europe and the United States. The difference was context – the first Polish digital literary experiments appeared during the heyday of communism in the 1970s. The Polish author Robert Szczerbowski came up with his untitled hypertext about the same time Michael Joyce wrote afternoon. a story – just a few years after the end of martial law in Poland. As the first literary works on floppy discs appeared at the beginning of the 1990s, Polish society was in the midst of a profound political transformation which began in 1989. These political events coincided with the development of technology, which influenced the fields of literature and art. Because of the Iron Curtain, the country’s isolation and its artists lack of deeper contacts with their Western counterparts, the status of literature was constructed differently, with its impact and obligations defined by ethics rather than aesthetics.
Scott Rettberg - 19.06.2014 - 20:45
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A Beam of Light: Reading the Portuguese Electronic Literature Collection
This intervention presents an analysis of the Portuguese Electronic Literature Collection (PELC) I have been curating since August 2013 in the ELMCIP Electronic Literature Knowledge Base. By aggregating and expanding existing records in the database and creating new ones, I have been developing a research collection that addresses the Portuguese creative and theoretical production since the 1960s in the broader field of electronic literature. The PELC uses resources from ELMCIP and PO.EX, the Digital Archive of Portuguese Experimental Literature, led by Rui Torres at the Fernando Pessoa University.
Scott Rettberg - 19.06.2014 - 20:47
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New Novel Machines: Nanowatt and World Clock
My Winchester’s Nightmare: A Novel Machine (1999) was developed to bring the interactor’s input and the system’s output together into a texture like that of novelistic prose. Almost fifteen years later, after an electronic literature practice mainly related to poetry, I have developed two new “novel machines.” Rather than being works of interactive fiction, one is a demoscene production (specifically, a single-loading VIC-20 demo) and the other a novel generator.
Alvaro Seica - 19.06.2014 - 23:49
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Swimming against the data stream: plot, polyphony and heteroglossia in data-driven writing
Conference presentation proposal for ELO 2014 “Hold the Light”
Unprecedented access to real-time social data is changing the way we tell stories about ourselves. Social data is being utilised within a wide variety of electronic literature and media art from Mark Hansen and Ben Rubin’s Listening Room to the recent explosion in Twitter bots which remix digital text. These practices have been designated under the rubric “environmentally interactive” digital writing (Wardrip-Fruin 2010, p. 41). Such writing often takes the form of a data stream (Manovich 2012), representing content as a chronological flow of units of information, with the newest information being most salient.
Alvaro Seica - 19.06.2014 - 23:58
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Computational Editions, Ports, and Remakes of "First Screening" and "Karateka"
Print literature has a deep, theoretically-engaged history of scholarly editing practice which provides a powerful framework within which to understand different versions or editions of texts and the natures and sources of their differences. While scholarship on electronic literature has brought in forensic, bibliographic, and platform-related concepts in the last decade or so, only recently have original computational works been considered in this way. Much of the discourse around “digital editions” has focused on the creation of electronic versions of print works.
Alvaro Seica - 20.06.2014 - 00:20
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Writing Synaptically: Using SCALAR as a Creative Platform
I attended the ELO’s 2012 conference at WVU as a novice in electronic literature—primarily as a fiction person with an interest in the creative possibilities of new media, particularly given the ways in which the nature of the cinematic experience is becoming more personal. (Though I am a writer rather than a scholar, I have written critically on this topic in “The Lost Origins of Personal-Screen Cinema,“ a chapter in the anthology Small Cinemas Discovered Anew, forthcoming in 2014 from Lexington Books/Rowman-Littlefield.)
Alvaro Seica - 20.06.2014 - 00:31
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Detective Stories in Digital Games
Literary detective stories have some game-like elements, as they pose an implicit challenge for the reader to solve the crime before they read the solution (Suits, 1985). This paper will examine early detective games to argue that interactive detective investigations are essentially linked to textual exploration and exegesis; as text becomes de-emphasized, the detective work also takes a secondary role.
According to Todorov’s typology of detective fiction (Todorov, 2000), detective games present two stories: the story of the crime and the story of the investigation. The first type of detective fiction, the whodunit, emphasizes the story of the crime, which the detective reconstructs, on the other hand, the thriller emphasizes the story of the investigation, by which the detective gets embroiled into the crime that he is solving.
Jill Walker Rettberg - 20.06.2014 - 18:00
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CELL: The Consortium for Electronic Literature
A presentation of the CELL consortium's work with interoperability between databases about electronic literature.
Jill Walker Rettberg - 20.06.2014 - 18:03
