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1. Distributed Authorship and Creative Communities (conference paper)

   In its requirement for both an author and reader art can be considered a participatory activity. Expanded concepts of agency, such as in actor-network-theory (Latour 2005), question what or who can be an active participant, allowing us to revisit the debate on authorship from a new perspective. We can ask whether creativity might be regarded as a form of social interaction rather than an outcome. How might we understand creativity as interaction between people and things, as sets of discursive relations rather than outcomes? Whilst creativity is often perceived as the product of the individual artist, or creative ensemble, it can also be considered an emergent phenomenon of communities, driving change and facilitating individual or ensemble creativity. Creativity can be a performative activity released when engaged through and by a community and understood as a process of interaction. In this context the model of the solitary artist who produces artefacts which embody creativity is questioned as an ideal for achieving creative outcomes. Instead, creativity is proposed as an activity of exchange that enables (creates) people and communities.

   Simon Biggs - 21.09.2010 - 10:49

2. New Media Poetics: Contexts, Technotexts, and Theories

   New media poetry—poetry composed, disseminated, and read on computers—exists in various configurations, from electronic documents that can be navigated and/or rearranged by their "users" to kinetic, visual, and sound materials through online journals and archives like UbuWeb, PennSound, and the Electronic Poetry Center. Unlike mainstream print poetry, which assumes a bounded, coherent, and self-conscious speaker, new media poetry assumes a synergy between human beings and intelligent machines. The essays and artist statements in this volume explore this synergy's continuities and breaks with past poetic practices, and its profound implications for the future. By adding new media poetry to the study of hypertext narrative, interactive fiction, computer games, and other digital art forms, New Media Poetics extends our understanding of the computer as an expressive medium, showcases works that are visually arresting, aurally charged, and dynamic, and traces the lineage of new media poetry through print and sound poetics, procedural writing, gestural abstraction and conceptual art, and activist communities formed by emergent poetics.

   (Source: Publisher's description)

   Patricia Tomaszek - 21.09.2010 - 11:24

3. Electronic Book Review (ebr)

   Electronic Book Review (ebr) is a peer-reviewed journal of critical writing produced and published by the emergent digital literary network. Although ebr threads include essays addressing a wide range of topics across the arts, sciences, and humanities, ebr's editors are particularly interested in critically savvy, in-depth work addressing the digital future of literature, theory, criticism, and the arts

   Eric Dean Rasmussen - 21.09.2010 - 11:24

4. Digital Literature in France (conference presentation)

   The presentation briefly retraces the history of electronic literature in France, emphasizing the various literary and aesthetic tendencies and the corresponding structures (groups, magazines, etc.). The focus then shifts to French electronic literature communities. The presentation notably provides an account of a study that Bouchardon did in 2004-2007 for the Centre Pompidou in Paris (study included in the book "Un laboratoire de littératures", http://editionsdelabibliotheque.bpi.fr/livre/?GCOI=84240100044550). He analyzed a "dispositif" (mailing list, website, meetings) called e-critures, dedicated to electronic literature, with the hypothesis of the co-construction of a "dispositif", a field and a community. The presentation concludes with the possible characteristics of electronic literature in France (which might not be specific to France), both from a literary and from a sociological point of view.

   Serge Bouchardon - 22.09.2010 - 07:50

5. The ELO and US Electronic Literature in the 2000s

   The Electronic Literature Organization was founded as a literary nonprofit organization in 1999 after the Technology Platforms for 21st Century Literature conference at Brown University. Today, the ELO is one of the most active organizations in the field, central to the practice of literature in the United States and its establishment as an academic discipline. This presentation will briefly outline the history of the organization, the ways that its mission, profile, and focus of has evolved and changed over its first decade, and offer some tentative insights into the ways that an institutionally structured community can facilitate network-mediated art practice.

   Patricia Tomaszek - 15.10.2010 - 17:21

6. RiLUnE (Revue des Littératures de l’Union Européenne/Review of Literatures of the European Union)

   RiLUnE is a peer-reviewed journal. It aims to contribute to the formation of a European cultural conscience through the exchange of knowledge, the promotion and study of European Literature.

   Patricia Tomaszek - 28.10.2010 - 16:38

7. Electronic Literature as World Literature; or, The Universality of Writing under Constraint

   Electronic literature is not just a “thing” or a “medium” or even a body of “works” in various “genres.” It is not poetry, fiction, hypertext, gaming, codework, or some new admixture of all these practices. E-literature is, arguably, an emerging cultural form, as much a collective creation of terms, keywords, genres, structures, and institutions as it is the production of new literary objects. The ideas of cybervisionaries Paul Otlet, Vannevar Bush, and Ted Nelson, foundational to the electronic storage, recovery, and processing of texts, go beyond practical insights and can be seen to participate in a long-standing ambition to construct a world literature in the sense put forward by David Damrosch (2003: 5): “not an infinite ungraspable canon of works but rather a mode of circulation and of reading...

   Eric Dean Rasmussen - 06.01.2011 - 12:57

8. The New Media Reader

   The new media field has been developing for more than 50 years. This reader collects the texts, videos, and computer programs—many of them now almost impossible to find—that chronicle the history and form the foundation of this still-emerging field. General introductions by Janet H. Murray (author of Hamlet on the Holodeck) and Lev Manovich (author of The Language of New Media), along with short introductions to each of the selections, place the works in their historical context and explain their significance.

   The texts are from computer scientists, artists, architects, literary writers, interface designers, cultural critics, and individuals working across disciplines. They were originally published between World War II (when digital computing, cybernetic feedback, and early notions of hypertext and the Internet first appeared) and the emergence of the World Wide Web (when these concepts entered the mainstream of public life).

   Patricia Tomaszek - 11.01.2011 - 14:22

9. German Net Literature: In the Exile of Invisibility

   German net literature had an early and very public start through competitions organized in 1996-8 by the major newspaper Die Zeit and IBM, but was declared dead or stillborn immediately afterwards. Consequently, net literature became a subject of controversy between artists, theorists, and literary critics from which not only a strong community evolved but also a literary system. In this system, competitions served as public, peer-reviewed mediators for net literature and became an important feature of “post-processing.” Since the end of the 90s however, German net literature became slowly invisible. The lack of public awareness of net literature is common to many countries. Post-processing is a key for public visibility and according to Siegfried J. Schmidt et al. an important component in a literary system. In search of reasons for the state of invisibility of German net literature, I analyze mechanisms of post-processing in our community, which I regard as a literary system. This descriptive synopsis is the first paper in an upcoming series that opens up questions towards the role of peer-review, public reception, and artists' community-building.

   Patricia Tomaszek - 12.01.2011 - 17:15

10. The ELMCIP Knowledge Base and the Formation of an International Field of Literary Scholarship and Practice

    The paper provides an introduction to the HERA (Humanities in the European Research Area) collaborative research project ELMCIP: Developing a network-based creative community: Electronic Literature as a model of creativity and innovation in practice, and in particular details the Knowledge Base component of the project. The Knowledge Base is a new platform for developing and sharing bibliographic records about works, critical writing, events, publishers, organizations, and authors in the field of electronic literature, with a particular emphasis on the European context. The paper further introduces the collaborative activity of CELL: an international Consortium for Electronic Literature organized by the Electronic Literature Organization.

    Scott Rettberg - 12.01.2011 - 20:04

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