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Infinite Verse
Infinite literature is abundant, often conceptually simple, and often formally easy to understand. For critics and poets to explore infinite forms of literature further, it is important to clarify their essentials. In this discussion I will describe properties of infinite (or, to phrase it differently, “boundless”) poetry. I specifically consider verse — poetry which, when composed, is “turned” into lines in some typical or unconventional way. These verse works, or segmented verbal works, need not be digital: There are many infinite artworks that are not based on digital computation or even what people would usually describe as “technology,” while there are many finite (bounded) artworks that are computational. Some of the works I will cover are thought of as prose fictions, but I will demonstrate that to attain boundlessness they need at least one turn of the sort that is characteristic of verse.
Nick Montfort - 06.09.2019 - 22:48
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A Little Transmediation Can Be a Dangerous Thing, or What Happened When I Made a Multimedia Poem from an Artist’s Book
A Little Transmediation Can Be a Dangerous Thing, or What Happened When I Made a Multimedia Poem from an Artist’s Book
Richard Holeton - 07.09.2019 - 04:58
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Beyond the Periphery of Modernist Prose: Digital Faulknerian Stream-of-Consciousness
The first two chapters of William Faulkner’s The Sound and the Fury (hereafter SF) (1929) use stream-of-consciousness prose to represent the perspectives of the intellectually-disabled Benjy and suicidal Quentin, respectively. The text moves freely between time periods, using italics to indicate shifts, establishing what Faulkner calls ‘unbroken-surfaced confusion’. As a result, the novel depicts the novel’s titular ‘Sound and Fury’.
To this day, SF poses editorial dilemmas. Polk (1985, XIV) lists four difficulties: (i) none of the extant documents fully preserve Faulkner’s ‘final intentions’; (ii) the documents preserve inconclusive and contradictory testimony; (iii) it is impossible to determine who caused variations between the book and carbon typescript; and (iv) given the nature of the text, it is difficult to determine which variations are corrected ‘errors’ and which are not. Faulkner’s correspondence with his literary agent also reveals his desire to use colourised text, which has led to the development of colour editions: the 2012 Folio Society edition and the 2003 hypertext edition.
David Wright - 07.09.2019 - 12:55
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The Birth of the Algorithmic Author: NLG Systems as Tools and Agents
Natural language generation (NLG) – when computers produce text-based output in readable human languages – is becoming increasingly prevalent in our modern digital age. This paper will review the ways in which an NLG system may be framed in popular and scholarly discourse: namely, as a tool or as an agent. It will consider the implications of such perspectives for general perceptions of NLG systems and computer-generated texts. Negotiating claims made by system developers and the opinions of ordinary readers amassed through empirical studies conducted for this research, this paper delves into a theoretical and philosophical exploration of questions of authorial agency related to computer-generated texts, and by considering whether NLG systems constitute tools for manifesting human intention or agents in themselves.
leahhenrickson - 12.09.2019 - 15:02
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Diffractive Reading in the Reading Club
Annie Abrahams discusses, referring to Karen Barad, Donna Haraway
and Iris van der Tuin among others, how the Reading Club can be considered an example of a diffractive reading and writing practice.Annie Abrahams - 15.09.2019 - 16:35
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#PEAE (Participatif Ethology in Artificial Environments)
Originally I proposed a 20 min long performance called ThinkTalk with Rob Wittig – In it, we wanted to mix objects, voices and text live (using webcams) to compose something like a text opera with solos, dialogs, a choir and organic chaos. It should have been a meandering text collage with coincidences and contingency leading to unintentional meaning. - if you have an opportunity to invite us?
Instead I will tell you about my relation to electronic literature and my struggles defining my artworks.Annie Abrahams - 15.09.2019 - 16:55
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Introduction: The Body as a Writing Instrument
Introduction: The Body as a Writing Instrument
Pablo Uribe Valero - 17.09.2019 - 14:53
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Electronic Literature as Paratextual Construction
The article reflects on how electronic literature and affiliated or related fields describe themselves paratextually. It focus on metatexts which address the e-lit field or genre as a whole, rather than individual works.
Gesa Blume - 17.09.2019 - 14:54
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The Sonic Spectrum
The Sonic Spectrum
Sturle Mandrup - 17.09.2019 - 15:40
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Introduction of a Post-Digital: Dialogues and Debates from electronic book review. Volume 2
Post-Digital charts the history of critical debates about the impact of the digital revolution on contemporary literature, art and scholarship.
Collecting more than 20 years' worth of major interventions from the pioneering journal electronic book review, this landmark 2-volume set contains close to 100 seminal articles from leading scholars, writers and digital artists, including Mark Amerika, Jan Baetens, Serge Bouchardon, Kiki Benzon, R. M. Berry, Anne Burdick, Stephen J. Burn, John Cayley, David Ciccoricco, Astrid Ensslin, David Golumbia, Paul Harris, N. Katherine Hayles, Matthew G. Kirschenbaum, Joseph McElroy, Brian McHale, Timothy Morton, Nick Montfort, Stuart Moulthrop, John Durham Peters, Scott Rettberg, Stephanie Strickland, Ronald Sukenick, Joseph Tabbi, Cary Wolfe, Laura Dassow Walls and Rob Wittig.
Post-Digital also includes new essays chronicling the most recent, multimodal developments in the literary field, a series of introductions by several generations of ebr co-editors surveying the long history of thinking about the digital, and a comprehensive bibliography of further reading.
Kristina Igliukaite - 17.09.2019 - 21:50
