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  1. Roberto Simanowski

    Roberto Simanowski received his Ph.D. at the University of Jena in 1996, was Research Fellow at University of Göttingen (1997), Postdoctoral Fellow at Harvard University (1998-2000), Visiting Scholar at University of Washington (2001), Visiting Professor for Cultural Studies in Digital Media at University of Jena (2002), and Assistant Professor for German Literature and Digital Aesthetics at Brown University in Providence (2003-2010). Simanowski is the editor of, a German-English journal on digital aesthetics, which he founded in 1999. Besides articles and books on mass-culture in 18th century, nationalism in German literature and literary salon, he has published extensively on digital literature and arts. In 2010, he accepted a position at the University of Basel where he is now professor of media studies.

    Patricia Tomaszek - 14.09.2010 - 11:54

  2. p0es1s

    The symposiums to the poetics of digital texts orient themselves provisionally on the following question: They would like to explore and discuss the specific performances and functions of a literature, which is conceptualized or conceived particularly for digital media. As a literature form, those in the field of electronics between innovation (the changed conditions of digital and intertwined writing as well as multimediality) and tradition (resorting to the tradition of the literary avant-gardes) operate, ask themselves even for scientific work the question about the classification and handling of this literature in a media-theory and literature-theory perspective.

    Patricia Tomaszek - 14.09.2010 - 12:06

  3. The Reader as Author as Figure as Text

    The paper takes a short look at the much discussed dismissal of the author in hypertext collaborative writing and discusses the role of authorship in three German collaborative writing projects. The results are: 1. Collaboration sometimes works like collaboration with the 'enemy.' The pleasure of some collaborative writing projects therefore comes not so much from the story itself as from what the text reveals about its authors. 2. The attraction of some collaborative writing project lies in the setting more than in the contributed texts. What fails as Netliterature may get a second chance as Netart. 3. If the program of a collaborative writing project automatically and randomly creates the links and develops the structure of the whole, it takes over the collaboration between authors and their texts. The conclusion is: As the text itself becomes more and more part of a technical setting, and as the program moves more and more into the center, the project of collaborative writing increasingly dismisses the reader. To a user who accidentally stops by and starts to read, the text itself doesn't say all that much.

    Patricia Tomaszek - 14.09.2010 - 12:19

  4. Teaching Digital Literature: Didactic and Institutional Aspects

    Digital media is increasingly finding its way into the discussions of the humanities classroom. But while we have a number of grand theoretical texts about digital literature we as yet have little in the way of resources for discussing the down-to-earth practices of research, teaching, and curriculum necessary for this work to mature. The book Reading Moving Letters, edited by Roberto Simanowski, Jörgen Schäfer and Peter Gendolla, addresses this need and provides examinations by nine scholars and teachers from different national academic backgrounds. While the first section of the book provides definitions of digital literature as a discipline of scholarly treatment in the humanities, the second section asks how and why we should teach digital literature and conduct close readings in academia and discusses institutional considerations necessary to take into account when implementing digital literature into curricula. The following text is the introduction to section two.

    Patricia Tomaszek - 14.09.2010 - 12:33

  5. A Clash between Game and Narrative

    In this paper presentation I'll be making a simple point. That computer games and narratives are very different phenomena and, as a consequence, any combination of the two, like in "interactive fiction", or "interactive storytelling" faces enormous problems.

    Patricia Tomaszek - 14.09.2010 - 13:08

  6. Jesper Juul

    Juul has been working with the development of video game theory since the late 1990's. His primary occupation is as an academic, but he has also developed video games. He is a visiting arts professor at the New York University Game Center and previously worked at the Singapore-MIT GAMBIT Lab at MIT and at the IT University of Copenhagen. His book "Half-Real" discusses video game theory and was published by MIT press in 2005. His recent publication "A Casual Revolution" (MIT P, 2009) examines how puzzle games, music games, and the Nintendo Wii are bringing video games to a new audience.

    Patricia Tomaszek - 14.09.2010 - 13:30

  7. Friedrich W. Block

    Friedrich W. Block is the Director of the Brückner-Kühner-Foundation and the Kunsttempel Gallery in Kassel, Germany. He is the curator of numerous exhibitions, literary and academic events, and he has also worked as an artist. Since 1992 he has been responsable for the 'p0es1s' project on digital poetry and since 2000 for the 'Kasseler Komik-Kolloquium'. His research concentrates on contemporary literature, language art, media poetics and humor. Block is co-editor of the 'Kulturen des Komischen' series. Among others he wrote IO. poesis digitalis. 

    Patricia Tomaszek - 14.09.2010 - 13:59

  8. Digital Poetics or On the Evolution of Experimental Media Poetry

    The academic and literature critical discussion on new media poetry or about digital texts swings to and fro, in method and conception between two poles: one is the 'work immanent' approach of structure description and classification, and the other the deduction of abstract media esthetics. At a tangent to this the communication on media, culture and media art has been more or less committed to the priority of technological reasoning since the nineties at the latest. The concern with technology remains a dilemma: Technology has to be taken into account when dealing with concrete structure analyses of works of digital poetry, but some traps lie in wait. Is the knowledge accounted for here really sufficient? I would say that few of those taking part in the discussion who do not actually work in the specific area artistically are capable of programming digital texts (the same may be said of some artists). Another problem is something I have casually termed a new techno-ontology: a ‘cold fascination’ for technological being (also of texts), which flares up briefly with each innovation pressing for the market in the respective field.

    Patricia Tomaszek - 14.09.2010 - 14:16

  9. Anna Katharina Schaffner

    Before taking up a post in Comparative Literature at Kent in 2007, Schaffner studied General and Comparative Literature and English and American Studies in Berlin. She completed both her MSc and her PhD on avant-garde literature at the University of Edinburgh. During and after her PhD studies, she worked first as research assistant and then as Post-Doctoral Researcher in an AHRC-funded project on the European Avant-Garde in art, literature and film. 

    Anna Katharina Schaffner has published a monograph on language dissection in avant-garde, concrete and digital poetry, as well as a range of articles on Dada, post-war concrete and contemporary digital experimental poetry.

    Patricia Tomaszek - 14.09.2010 - 14:34

  10. From Concrete to Digital: The Reconceptualization of Poetic Space

    It has almost become self-evident in the critical discourse on digital poetry to assess digital poetry as a continuation of an experimental tradition with its origins in the historical and the neo-avant-garde. Critics such as Friedrich W. Block and Roberto Simanowski in particular read contemporary digital poetry explicitly as extension and continuation of concerns of the avant-garde and concrete poets.

    Block points out that almost all vital concerns of digital poetry can be traced back to its historical predecessors. He names the reflection upon the concrete language material, the transgression of genre boundaries, multilinearity and the exploration of spatial structures, movement and interactivity as key strategies which are vital concepts in historical avant-garde, concrete and digital poetry. Digital poetry is frequently, and I believe correctly, assigned to the wider trajectory of experimental/avant-garde poetry in many other studies as well. It is often considered as a third stage, contemporary continuation and further development of earlier experiments.

    Patricia Tomaszek - 14.09.2010 - 14:43