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Quantum Feminist Mnemotechnics: The Archival Text, Digital Narrative and The Limits of Memory
New technologies-- whether used for artistic or scientific ends--require new shapes to speak their attributes. Feminist writers too have long sought a narrative shape that can exist both inside and outside of patriarchal systems. Where like-minded theorists have tried to define a gender-specific dimension for art, Quantum Feminist Mnemotechnics demonstrates that feminist artists have already built and are happily inhabiting this new technological room of their own. This dissertation is an exploration of the architectural shapes of mnemonic systems in women's narratives in the new media (focusing on Shelley Jackson's Patchwork Girl, M.D. Coverley's Califia and Diana Reed Slattery's Glide and The Maze Game as exemplary models). Memory is key here, for, what gets stored or remembered has always been the domain of official histories, of the conqueror speaking his dominant cultural paradigm and body. I explore at length three spatial architectures of the new media: the matrix, the unfold and the knot.
Carolyn Guertin - 20.06.2012 - 19:00
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Poetics and Visuality: A Trajectory of Contemporary Brazilian Poetry
Philadelpho Menezes's Poetics & Visuality offers an account of the development of extreme poetic practices in a country known for its commitment to experimentation. This richly illustrated history begins with spatialism, to which concretism comes as a corrective ordering in the early 1950s. The "visual poetry" of the last decades is cogently theorized as intersign poetry (collage, package, montage poetries), a movement that has drawn international attention. (Source: publisher)
Luciana Gattass - 16.10.2012 - 21:03
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Interpoesia: Le Debut de L’ecriture en Expansion
La technologie, en tant qu’ensemble des connaissances techniques et scientifiques de l’humanité, devient un des acteurs majeurs de transformation et de multiplicité de l’écriture humaine. Au travers de ma production englobant les travaux : Interpoesia – Interpoésie –, Looppoesia, Poesia Café – Poésie Café, et Quando assim Termino o Nunca – Quand ainsi je finis le jamais... –, cette étude-ci signale quelques étapes qui par l’exercice poétique, et en raison de mon rapport avec Phillipe Bootz dans le collectif Transitoire Observable, m’ont fait envisager le besoin de commencer à créer un concept qui comprend l’écriture en expansion et son ambiance. La description de ces phénomènes relève de mon expérience en tant que poète de la technologie digital aussi bien que de mon contact fréquent avec la programmation comme écriture. Cette étude se justifie encore par l’avis d’autres poètes dont les oeuvres posent des questions dans le même domaine, et qui sont devenus mes amis depuis que j’ai commencé ma création dans le champ de la poésie numérique.
Luciana Gattass - 23.10.2012 - 14:43
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Interpoesia: o Inicio da Escritura Expandida
Tive a idéia de escrever este trabalho a partir da necessidade de registrar alguns aspectos conceituais relevantes da produção poética dos meios digitais, desde que Philadelpho Meneses e eu concebemos o Interpoesia e o lançamos em formato de CD-ROM no ano de 2000, na Universidade Presbiteriana Mackenzie, na I mostra Interpoesia. Para evitar as “pirotecnias de performance”, como diria Paulo Leminski, este trabalho pretende apontar minha trajetória na produção de conteúdo analítico e teórico que chamei de Poética das Hipermídias, caminho decorrente de um fazer desde a criação do conceito do termo Interpoesia. Assim, a continuidade desta pesquisa e da práxis na produção hipermidiática se fixam como ponto importante no cenário da produção poética brasileira que utiliza suporte digital.
Luciana Gattass - 23.10.2012 - 15:03
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Literatur im Internet: Theorie und Praxis einer kooperativen Ästhetik
Elektronische Literatur nimmt seit einigen Jahren einen immer größeren Raum in der literaturwissenschaftlichen Reflexion, vor allem im angelsächsischen Raum, ein. Dabei herrscht - unabhängig von theoretischen und ideologischen Differenzen - seltene Einmütigkeit darüber, daß der Computer für die Produktionsbedingungen von Literatur eine ebenso große Zäsur bedeutet wie einstmals der Buchdruck. Der Gutenberg-Galaxis scheint die Turing-Galaxis zu folgen. Da die Verarbeitung und Speicherung von Daten und - im Falle elektronischer Literatur - deren Produktion und Präsentation allein durch programmbasierte Steuerung elektronischer Impulse erfolgt, werden Immaterialität und Prozeduralität zu inhärenten Eigenschaften des Textes. Daraus folgt eine grundlegende Veränderung im Umgang mit und in der Wahrnehmung von Literatur und Schrift. Durch die Vernetzung erhält der Computer mediale Qualitäten, die auf einem polylateralen Austausch von Daten beruhen, der die Grenzen zwischen Produzent und Rezipient durch unzensierte Veröffentlichungsmöglichkeiten verwischt.
Jörgen Schäfer - 08.11.2012 - 14:03
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Expressive Processing: On Process-Intensive Literature and Digital Media
Most studies of digital media focus on elements familiar from traditional media. For example, studies of digital literature generally focus on surface text and audience experience. Interaction is considered only from the audience's perspective. This study argues that such approaches fail to interpret the element that defines digital media -- computational processes. An alternative is proposed here, focused on interpreting the internal operations of works. It is hoped that this will become a complement to (rather than replacement for) previous approaches. The examples considered include both processes developed as general practices and those of specific works. A detailed survey of story generation begins with James Meehan's Tale-Spin, interpreted through "possible worlds" theories of fiction (especially as employed by digital media theorists such as Marie-Laure Ryan). Previous interpretations missed important elements of Tale-Spin's fiction that are not visible in its output.
Scott Rettberg - 13.12.2012 - 16:50
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New narrative pleasures? A cognitive-phenomenological study of the experience of reading digital narrative fictions
Thesis for the degree doctor artium. EXCERPT FROM INTRODUCTION: This dissertation aims to address – and answer – some of the questions surrounding the ways in which the interface of the digital computer (also known as the GUI) is impacting how we experience – read – GUI narrative fictions. In my view, questions such as these are of utmost importance if we are to appropriately understand how digital technology is affecting central realms of human existence, such as our experiences of the fictions that are created and displayed in an ever increasing variety of media materialities and technological platforms. The main research questions to be dealt with in the following revolve around processes typically taking place when we read, watch, listen, experience, interpret, are engaged in, and interact with, digital hypermedia narrative fictions – what I, for the sake of simplicity, call GUI fictions. In short, how do we read GUI fictions? How, and why, is this reading different from our reading of narrative fiction in print, or of reading narrative fictions on other screens, such as on TV or in a movie theater?
Jill Walker Rettberg - 13.12.2012 - 21:28
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Travels in Cybertextuality. The Challenge of Ergodic Literature and Ludology to Literary Theory
The dissertation’s main point of departure is the clash between explicit and implicit presuppositions, conceptualisations and generalisations in print-oriented literary theoretical paradigms and a plenitude of empirically verifiable anomalies and counter-examples to them found in digital and ergodic works of literature. The behaviour of these counter-examples is explained by cybertext theory that addresses the often neglected issue of the variety of literary media. Both the empirical counter-examples and the empirically verifiable differences in the behaviour of literary media allow us to expand and modify literary theories to suit not just one traditionally privileged media position but all of them. Therefore, in the first half of the dissertation, literary theory and narratology are viewed and modified from the perspective of slightly revised cybertext theory. In this process theories of ergodic and non-ergodic literature are integrated more closely and several so far non-theorized ways of manipulating narrative time, regulating narrative information, and generating narrative instances are located and theorized.
Scott Rettberg - 13.12.2012 - 21:45
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Techno-historical Limits of the Interface: The Performance of Interactive Narrative Experiences
This thesis takes the position that current analyses of digitally mediated interactive experiences that include narrative elements often lack adequate consideration of the technical and historical contexts of their production.
From this position, this thesis asks the question: how is the reader/player/user's participation in interactive narrative experiences (such as hypertext fiction, interactive fiction, computer games, and electronic art) influenced by the technical and historical limitations of the interface?
In order to investigate this question, this thesis develops a single methodology from relevant media and narrative theory, in order to facilitate a comparative analysis of well known exemplars from distinct categories of digitally mediated experiences. These exemplars are the interactive fiction Adventure, the interactive art work Osmose, the hypertext fiction Afternoon, a story, and the computer/video games Myst, Doom, Half Life and Everquest.
Scott Rettberg - 13.12.2012 - 22:42
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Repetition and Recombination: Reading Network Fiction
Repetition and Recombination: Reading Network Fiction is the first full-length study devoted to network fiction. Network fictions are narrative texts in digitallynetworked environments that make use of hypertext technology in order to create emergent and recombinatory narratives (unlike interactive, or "arborescent," fictions that employ mutually exclusive plotlines). They represent a coalescence of works that predate and postdate the World Wide Web but share an aesthetic drive that exploits the networking potential of digital composition and foregrounds a distinctive quality of narrative recurrence and return. The thesis consists of (1) a critical and theoretical component that returns to printbased narratology in light of digital literature; (2) analyses of network fictions from the first-wave of digital literature published as stand-alone software applications; and (3) analyses of second-wave network fictions published on the World Wide Web. The analyses each focus on the interplay of the material, formal, and semantic elements of network narrative, an jnterplay that is framed by the dynamics of repetition.
Scott Rettberg - 13.12.2012 - 22:59
