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1. Electronic Literature Publishing in Europe: Sample Cases from Italy

   The publication of electronic literature, globally, has taken place outside of the traditional literary publishing field. The main modes have been either self publication by the authors, or, literary online magazines and portals. E-­lit competitions have played also a role. In a situation where no established publication system exists, the authors have had to invent new publication strategies. The activity has been characterised by noncommerciality, collegialism, and close connection to academia. Publication of electronic literature has often been happening side by side with critical writing on electronic media. Also, a considerable amount of electronic writing is such by nature, that it comes close to visual and auditive arts. It has then found publication channels through these non-­?literary connections: many of the works have been presented in art gallery settings. In our project, an investigation on organized European electronic literature publication and distribution will be carried on. This means that self-­?publication by authors will be excluded. The investigation will cover the following forms: ? electronic literature magazines and portals online ?

   Patricia Tomaszek - 18.10.2010 - 12:44

2. Discussion of processes and issues for ELMCIP anthology

   Maria Engberg will lead a discussion of the processes and editorial methods of the ELMCIP anthology, one of the most significant outcomes of the ELMCIP project, intended to provide educators, students and the general public with a free curricular resource of a collection of a variety of examples of different types of electronic literary works produced in Europe.

   Patricia Tomaszek - 18.10.2010 - 14:27

3. Genre, Form, and Cultural Practice in Contemporary Electronic Literature

   “Born Digital: Writing in Digital Media” examines practices of digital literary writing. Through “close reading” of digital works Engberg argues that digital poetry has characteristics that take it beyond the bounds of the poem as a traditional literary artifact. Digital poems offer themselves as “poemevents” that are enacted in ways particular to the digital medium. On the one hand, digital poetry (as well as literary and artistic digital works in general) can be considered in literary and artistic traditions such as concrete poetry, language poetry etc, and thus requires the literary-critical community’s response. On the other hand, it is also increasingly evident that “digital writing” exists in multifarious and emergent forms that require an expanded way of analyzing which is rooted in the individual poetics of the practitioners as well as the cultural and technological situation of networked digital media today. The paper addresses possible critical responses to this dialectic of past and present, avant-garde and popular, influenced in particular by Johanna Drucker’s discussion of complicity (Sweet Dreams, 2005).

   Patricia Tomaszek - 27.10.2010 - 11:53

4. Vers de nouvelles formes en poésie numérique programmée?

   In English:

   I intend to illustrate some programmed forms among the most representative one of the
   digital poetry of today. They use two important features of the digital medium: dual performative
   signs and a semiotic gap between the author and the reader.

   Bootz Philippe. "About some programmed forms in e-poetry". Conference paper. EPC, SUNY Buffalo, 2006.

   In French:

   Cet article réalise une synthèse de mes travaux récents et propose, pour l’analyse des formes programmées, de nouveaux critères complémentaires de ceux proposés par ailleurs. La notion de forme programmée se dégage peu à peu des genres apparus en poésie numérique dans les années quatre-vingts Nous discutons les concepts à l’œuvre dans ces formes en insistant sur ceux de technotexte et d’intermédia. Ayant dégagé des axes analytiques performatif, lectoriel et instrumental, nous proposons et classifions quelques formes programmées.

   Patricia Tomaszek - 28.10.2010 - 16:52

5. Collaborative Art Experiments on Facebook

   Collaborative Art Experiments on Facebook

   Patricia Tomaszek - 12.01.2011 - 16:25

6. What is "The Asian Tower"?

   Un manufatto, un romanzo, un luogo di incontro, o piuttosto, come forse è più  giusto, un catalizzatore di energie creative, che sconfinano dal web al mondo reale, dalle lands di Second Life alle pagine dei blog e delle riviste cartacee, alle città del mondo, dall’architettura e dal desing alla scrittura, alla musica, all’arte visiva. Un progetto multimediale e plurilinguistico, dunque, che si è lasciato scoprire e interrogare nel suo farsi, sui blog dedicati e in occasione di diverse presentazioni e mostre, a Bologna, Firenze, Roma, Milano, Potenza. “La Torre di Asian” come manufatto virtuale, nasce dalla sperimentazione dell’idea dello spazio virtuale come racconto del suo costruttore, Asian Lednev aka Fabio Fornasari, owner in Second Life, architetto e desing bolognese nella vita reale; “La Torre di Asian” come romanzo collettivo, nasce dalla sperimentazione della narrativa, come restituzione letteraria della babele linguistica ed esperienziale contemporanea, da parte della scrittrice potentina, Lorenza Colicigno, in Second Life Azzurra Collas.

   Patricia Tomaszek - 12.01.2011 - 16:28

7. Multimodal Metaphor and Intersubjective Experiences: The Importance of Eye-Contact in Davidson’s Graphic Novel The Spiral Cage and in Annie Abrahams Net-Project On Collaboration

   Multimodal Metaphor and Intersubjective Experiences: The Importance of Eye-Contact in Davidson’s Graphic Novel The Spiral Cage and in Annie Abrahams Net-Project On Collaboration

   Patricia Tomaszek - 12.01.2011 - 16:32

8. WIKIARTPEDIA

   WIKIARTPEDIA

   Patricia Tomaszek - 12.01.2011 - 16:37

9. Digital Arts and Literature – Is it Just a Game?

   “Games are not serious; digital art and literature are playful; therefore they are not serious”. Formulations such as these are sometimes used when discussing the playfulness of digital art and literature. The origin of this argument is based on the traditional opposition between “serious” and “playful”. Because of their interactive nature, digital art and literature have often been considered as particularly close to play - and to “mass culture”. Depending on the approaches, this proximity is interpreted as an opportunity, or as a risk, as I will show in this article.

   On the one hand, art and play are so closely related that it has become commonplace to assert: “art is play”, “play is art”. On the other hand, it seems equally impossible to deny the existence of playfulness in art and literature. Indeed, is it not one of their fundamental privileges to allow free, unselfish play with the materials, codes and conventions, while science, craft industry, and industrial design are "condemned" to produce and capitalise?

   Patricia Tomaszek - 12.01.2011 - 16:44

10. Digital Literary Text as a Play and a Ride

    Digital Literary Text as a Play and a Ride

    Patricia Tomaszek - 12.01.2011 - 16:45

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