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1. Electronic Poetry: Understanding Poetry in the Digital Environment

   This study has as its main research object the new forms of poetry based on informatics and it is located in the fields of critical theory, hermeneutics, semiotics of the text and digital culture.

   These new forms emerging from the meeting of poetry and informatics are collectively called Digital Poetry. Digital poetry – also referred to as E-poetry, short for electronic poetry – refers to a wide range of approaches to poetry that all have in common the prominent and crucial use of computers or digital technologies and other devices. Digital poetry does not concern itself with the digitalization of printed works, it relates to digital texts. This work studies only electronic poems created to be read on the computer accessible online. It offers the close-readings of 35 e-poems in 5 different languages (English, French, Italian, Portuguese, and Spanish).

   Eric Dean Rasmussen - 19.03.2012 - 08:16

2. Modernisms: A Literary Guide

   The recent enthusiasm for things postmodern has often produced a caricature of Modernism as monolithic and reactionary. Peter Nicholls argues instead that the distinctive feature of Modernism is its diversity. Through a lively analysis of each of Modernism's main literary movements, he explores the connections between the new stylistic developments and the shifting politics of gender and authority.

   Meri Alexandra Raita - 19.03.2012 - 15:33

3. Notes on Conceptualisms

   What is conceptual writing, how does it differ from Conceptual Art, what are some of the dominant forms of conceptualism,where does an impure or hybrid conceptualism fit in, what about the baroque, what about the prosody of procedure, what are the links between appropriation and conceptual writing, how does conceptual writing rely on a new way of reading, a “thinkership” that can shift the focus away from the text and onto the concept, what is the relationship between conceptual writing and technology or information culture, and why has this tendency taken hold in the poetry community now?

   What follows, then, is a collection of notes, aphorisms, quotes and inquiries on conceptual writing. We have co-authored this text through correspondence, shared reading interests, and similar explorations. Notes on Conceptualisms is far from a definitive text, and much closer to a primer, a purposefully incomplete starting place, where readers, hopefully, can enter so as to participate in the shaping of these ideas.

   (Source: Ugly Duckling Presse)

   Meri Alexandra Raita - 21.03.2012 - 18:42

4. Marking Transition: the Work of Neal von Flue

   For any regular Internet user, the hyperlink has become ubiquitous, almost rendered invisible
   through the frequency of its use. Trails in hypertext are meticulously laid out through the
   seemingly endless streams of data, connected by links imagined as points of intersection in the
   web. Links are used for reference, for navigation but also extensively in creative production, to
   fashion hypertextual narratives and images. It is in this realm of electronic literature, both visual
   and textual, that the function of the link shifts from the commonplace to a carrier of aesthetic
   potential.

   This presentation examines the aesthetic activation of the hyperlink as both an indicator of
   transition and site of transformation. It is a brief exploration of the hyperlink as a signifier, a
   mark both on and in the 'surface' of the digital text, through a close case study of two works by
   hypercomic creator Neal von Flue.

   Eric Dean Rasmussen - 21.06.2012 - 13:54

5. Post-Chapter Dialogue, Gendolla and Ricardo

   Post-Chapter Dialogue, Gendolla and Ricardo

   Eric Dean Rasmussen - 27.06.2012 - 14:44

6. Polyaesthetics: Designing and Experiencing Digital Narratives

   The talk discusses a series of characteristics of contemporary literature: multimodality, co-creativity, location-awareness, and tactility. Looking at digital narratives, particularly from the ELMCIP Anthology of European Electronic Literature I explore these four dimensions of what I call the polyaesthetic nature of contemporary culture. In addition, I present a locative media narrative that I am creating with Jay David Bolter and Michael Joyce, using the AR browser Argon.

   Maria Engberg - 13.11.2012 - 15:43

7. Digital Modernism: Making it New in New Media

   What happens to literature, the literary, and the cultural value of both when text moves from page to screen? What can these shifts teach us about the traditions, practices, and discourses that shape the ways in which we read, study, and engage with print and electronic literature? Digital Modernism reads digital literature within a modernist tradition of making it new, a history that is both experimental and canonical. Across literary genres and programming platforms, I examine a shared strategy in some of the most innovative works of electronic literature online. These works adopt, adapt, and allude to the seminal aesthetic practices, principles, and texts of literary modernism. Digital Modernism analyzes these consciously crafted ties to modernism as part of a larger strategy and cultural situation. These works challenge common assumptions about digital literature, such as associations with hypertext and expectations of reader-controlled interactivity. They use modernism to construct immanent critiques about a culture that privileges images, navigation, and interactivity over narrative, reading, and textuality.

   Scott Rettberg - 07.01.2013 - 23:18

8. Played by Hyperfiction. Modes of Reading Megan Heyward's "Of Day, of Night"

   How do we read digital literature? I want to approach the topic by studying how electronic literature prefigures the reader's response. The aim of this paper is to explore some of the preconditions for reading electronic literature. I argue that electronic literature might be considered as a text game, in Wolfgang Iser's sense, and that different work prefigures different attitudes towards reading. The attitudes regarding reading, or modes of reading, I will focus on the semantic orientation of reading, aesthetic enjoyment, a mode of gaining experience, and absorption of the reader.

   (Source: Author's abstract, 2008 ELO Conference)

   Scott Rettberg - 08.01.2013 - 11:59

9. Next Generation Literary Machines: The “Dynamic Network Aesthetic” of Contemporary Poetry Generators

   This dissertation investigates the current state of digital poetry generators. The study argues that today’s poetry programs embody a new stage distinct from second- generation digital literature. The new stage projects a “dynamic network aesthetic,” reflective of four trends in Web 2.0 cultural production: the potential for mass aggregation; the adoption of participatory platforms; the instability of textual material; and the unpredictability of individual actors. The chapters interrogate the ways in which the four characteristics emerge in three categories of poetry generators: programs that manipulate user input; programs that manipulate Internet text; and programs that generate autonomous content. Corresponding with the three categories, three theorists of the machine inform the discussion. Donna Haraway, Jean Baudrillard, and Gilles Deleuze each provide apt approaches to twenty-first-century technology. However, each theorist also demonstrates the ways in which recent models of the machine do not yet fully account for the “dynamic network aesthetic” of the Internet era.

   Scott Rettberg - 08.01.2013 - 17:07

10. The Aesthetics and Practice of Computational Literature

    While aesthetic practices in photography, film and music have undergone significant transformation due to the affordances of computational tools, the practice of creative and critical writing has remained largely unaffected. As programmable environments further populate the cultural environment it is increasingly important that we understand the ways in which those designed specifically for literary contexts may serve to challenge traditional notions of the writing endeavor. Our paper will provide a brief historical framework for the emergence of generative literary writing practices, a description of a new authoring environment (RiTa) for use in both the production and teaching of digital writing, and an analysis of specific concepts—including layering, materiality, authorial intent, constraints, and distributed creativity—that the use of this environment meaningfully engages.

    (Source: Authors' abstract, 2008 ELO Conference)

    Scott Rettberg - 08.01.2013 - 22:13

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