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  1. Aesthetics of Visual Noise in Digital Literary Arts

    The essay analyzes the phenomenon of digital poems representative of the use of a visually “busy” and typographically dense aesthetic. The essay focuses on digital works, such as Spawn by Andy Campbell, Diagram Series 6 by Jim Rosenberg, and Leaved Life by Anne Frances Wysocki. The author argues that a dominant aesthetic technique of these works, which is called “visual noise,” is generated by a tactilely responsive surface in combination with visual excess. This in turn requires an physical engagement from the reader/user in order for a reading to take place.

    Maria Engberg - 21.09.2010 - 11:37

  2. Beyond Taxonomy: Digital Poetics and the Problem of Reading

    Beyond Taxonomy: Digital Poetics and the Problem of Reading

    Patricia Tomaszek - 21.09.2010 - 11:57

  3. 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

  4. From ALAMO to Transitoire Observable: evolution of the French digital literature

    The presentation provides a historical overview of the evolution of electronic literature in France from the ALAMO group, an outgrowth of the OULIPO focused on combinatory aesthetics, through to the present day.

    Scott Rettberg - 03.10.2010 - 22:28

  5. The International Interactive Fiction Community

    In this talk, I describe some details of how these communities have functioned over the years: What forums, chat systems, publications, competitions, directories, archives, and other sorts of institutions and traditions are used to build new aesthetic appreciations of IF, to enable people to learn more about programming, design, and writing, and to to connect IF authors and players. My analysis, which draws on my experience as a member of “the IF community” while also considering online artifacts and discourses could be helpful in other electronic literature communities. It will also consider how existing community activity could help to connect IF more effictively with poets, fiction writers, artists, and and others who work in creative computing.

    Patricia Tomaszek - 15.10.2010 - 16:51

  6. The Poetry Beyond Text Project

    This presentation gives an overview on the research project "Poetry Beyond Text: Vision, Text and Cognition" (2009 – 2011), funded by the U.K. Arts and Humanities Research Council, emphasizing areas of potential connection with ELMCIP, and raising issues relevant to electronic literature.

    Patricia Tomaszek - 15.10.2010 - 16:52

  7. Case Studies in American Creative Communities

    Author's abstract: Everyone wants to be a part of community -­? but someone has to break the ice and establish the infrastructure. What are the physical, behavioral and interpersonal strategies and tactics that lead to the success of four American creative communities: Invisible Seattle, Persimmons & Myrrh, Chicago Lit Dinners, and Imperial Quality Media? Answers include: food, timekeeping, meeting facilitation, psychological tenderness, seating arrangements, theatricality and deep shag carpeting.

    Patricia Tomaszek - 15.10.2010 - 17:00

  8. Supercritical Creativity

    Creative works are treated as a form of property in as much as they are subject to intellectual property laws (IPRs), like copyright. Owning IPRs can therefore be very lucrative and owning the copyrights a key part of what constructs a market in creative works. But creative processes differ from those embedded in a factory or machine (which in certain sense can be considered condensed physical labour) in that it is the processes or outputs of creative thought itself that is being transferred into the IPRs. The thinking actions of the creative actor (and sometimes the tacit knowledge of the workers whose skills are being encoded) are abstracted into the IPR (sometimes through the absorption of the tacit knowledge of experts) and then encoded (stabilized) within the IPR. This is what Hardt and Negri (2000) named “immaterial labour’”, pointing to the way in which contemporary capital increasingly requires that our intellectual labour is alienated in postmodern capitalism.

    Patricia Tomaszek - 15.10.2010 - 17:05

  9. Catalonian Electronic Literature Communities

    Starting with the famous last words of Hamlet “and the rest is silence”, I would like to introduce the Catalan e-­?lit communities and their experience of Digital Literature. The Hermeneia Research Group has been one of the pioneers in the field in Spain and has been developing many different activities for the last 10 years. Lately it has been promoting a public debate in Literary Societies on Digital Literature (we will comment the last examples: Premis Octubre in Valencia, 2009, Catalan and Castillian Association of Writers, (AELC/ACEC), Barcelona 2010, Spanish Society of Comparative Literature, Alacant 2010, etc.). Of course the celebration in 2009 of the e-­?poetry festival in Barcelona was one of the big events and helped this open debate on the matter. But in this paper there will be a special space for one of this activities that, for

    Patricia Tomaszek - 15.10.2010 - 17:14

  10. 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

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