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Traduire et préserver des œuvres numériques : Les projets du Laboratoire NT2 : La revue bleuOrange et L’Abécédaire du Web
Dans le cadre du thème “Chercher le texte nunérique” les Laboratoires NT2 proposent une table ronde afin d’aborder la question de la préservation et de la traduction de la littérature hypermédiatique. Par littérature hypermédiatique, les Laboratoires NT2 entendent des œuvres ayant un contenu littéraire et faisant usage des technologies numériques. Ce sont des œuvres qui combinent matériau textuel et multimédia (sons, images, vidéos, etc.), des hypertextes, des textes générés par ordinateur, des fictions interactives, etc. Lors de cette table ronde, nous présenterons l’importance ainsi que la difficulté de traduire les œuvres de ce corpus. L’importance découle du mandat des Laboratoires NT2 de faire connaître en français cette littérature. La difficulté résulte dans la traduction d’œuvres qui doivent se faire en équipe, avec des créateurs qui n’ont plus toujours accès au code informatique de leur travail ou qui doivent le reprogrammer, c'est-à-dire, retraduire leur propre œuvre pour l’adaptation de leur œuvre vers le français.
Scott Rettberg - 25.09.2013 - 15:26
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Digital Humanties in Praxis: Introducing the Brazilian Electronic Reseach Collection
The Digital Humanities are in. The trendy scholarly practice for the tech-savvy literati, the DH has generated manifestos, grievances, enthusiasm, grammatical controversy (plural or singular concord?), and conferences. Said to possess both a “dark side” and a utopian core, it is humanities plus media. Humanities in media – but have the humanities ever existed outside a medium of inscription?
Stig Andreassen - 26.09.2013 - 12:45
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A Network Analysis of Dissertations About Electronic Literature
More than 60 dissertations in the field of electronic literature have been documented in the ELMCIP Electronic Literature Knowledge Base, including tags, abstracts and in most cases links to full texts of the dissertations.
Stig Andreassen - 26.09.2013 - 12:54
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Locating Literary Heritage in Paratexts: An Analysis of Peritexts in Electronic Literature
Twenty-six years after its original publication in French, I examine and propose to revisit a traditional literary theory bound to the book-as-object for the realm of literature in programmable media: paratext theory as envisioned by French narratologist Gérard Genette (translated into English by Jane E. Levin, 1997). To Genette, paratext is that which accompanies a text. He differentiates and distinguishes paratexts according to location of appearance and the sender of paratextual information. Two concepts are relavant: peri- and epitext. Genette speaks and identifies peritexts as those elements of the book dictated by a publisher devoted to the cover, typesetting, format etc. and epitexts which exist outside a book in the form of notes and interviews. Both elements merge into what Genette calls paratext theory, all of which carry out a functionality. Among others, Genette envisions paratexts to fulfill a “literary function“ which serve for guiding a readers reading; a claim under critical exploration in this presentation. Investigating the theme of this conference, I question how paratext theory may help to locate the literary in electronic literature.
Patricia Tomaszek - 30.09.2013 - 14:39
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Tierra de Extracción: How Hypermedia Novels could enhance Literary Assessment
Howard Gardner's theory of Multiple Intelligences suggests that there are at least eight different types of intelligence. Due to genetic variation and personal experiences, no two people have the same combination of intelligences. These do not only signal the way we interpret and cope with the world around us but the way we react to it. It is no coincidence that Reader Oriented Theories focus on the role of the reader in processing and interpreting text and not solely on textual perception. As readers and students of literature, the act of interpreting is key to understanding; but limited by outdated methodologies of assessment the opportunity to demonstrate what has been learned is practically bound to their linguistic intelligence. With the change of medium, from paper to screen, literature has undergone a kind of art and media hybridization that far from being something new and original recovers and allows the coexistence of multiple means of storytelling that extend the concept of reading, understanding and expression.
Scott Rettberg - 04.10.2013 - 11:02
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Reading the Drones: Working Towards a Critical Tradition of Interactive Poetry Generation
Computer-generated poetry is now almost sixty years old, stretching from the work of Christopher Strachey, Jackson Mac Low and Theo Lutz in the 1950s to the wealth of interactive poetry generators freely available online today. According to Antonio Roque, this history comprises four distinct (but overlapping) ‘traditions’: the Poetic; the Oulipo; the Programming; and the Research. But despite the inherent ‘literariness’ of the enterprise, one tradition is conspicuous by its absence: the ‘Critical’. It is the object of this paper to rectify this omission, proposing a mode of critical engagement that might allow interactive poetry generators to be naturalised as objects of textual study according to the protocols of literary criticism. It seeks to achieve this by means of a comparative analysis between what might be construed as the first interactive poetry generator – Tristan Tzara’s ‘How to Make a Dadaist Poem’ – and one of the most recent (and most powerful) – Chris Westbury’s JanusNode.
Kriss-Andre Jacobsen - 04.10.2013 - 11:14
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Community Repository of Writers on Writing
More than ever, our cultural institutions are in process. A precarious state that necessitates an ouroboros of approach: we compose even as we are composed. Composing with technology only yields up further process as our predominant cultural artifact. How must we determine its literary value? We must learn to unmake. We must interrogate process through the lens of process. By examining how our cultural artifacts are composed, we may further reveal their stakes. The following presents a beginning survey and comparative analysis of how different writers have composed with/through/among technology to produce cultural artifacts. This study is by no means exhaustive; however, even among few volunteers, there already are interesting trends and divergences.
Fredrik Sten - 04.10.2013 - 11:23
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Beyond Binaries: Continuity and Change in Literary Experimentation in Response to Print and Digital Technologies.
While many critics have compared the current digital age in communications media with the print revolution that began in the 15th century, these discussions have focused primarily on the differences, as opposed to the similarities between the two moments in history (Bolter, Landow, Hayles). As an author and critic involved in exploring new approaches to digital fiction, I, too, am keenly aware of the distinct differences between the age of print and the current digital age. Nevertheless, I have also been struck by many similar concerns in the specific types of literary experimentation taking place in response to new authoring and publishing technologies today with those undertaken in the past in response to print technology. In this paper, I consider specific instances of experimentation that arose in response to print technology in works of fiction published in the eighteenth century (Richardson, Pope, Sterne) with literary experimentation in response to digital technologies (Moulthrop, Montfort/Strickland, Rodgers).
Rebecca Lundal - 04.10.2013 - 11:30
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Internet Radio and Electronic Literature: Locating the Text in the Act of Listening
This essay suggests sound(s), especially when designed/utilized to provide immersive contexts, can provide a valid literary experience and may be considered, like reading and writing, a central element in the digital narratives of electronic literature. Specifically, 1) Sound (vocal and other) provides the basis for narrative, the heart of every literary experience; 2) Rather than sound(s) in electronic literature, sound(s) might be heard as electronic literature; sound(s) might form the basis for new works of electronic literature; 3) Evolving considerations of Internet radio, especially with regard to mobile, interactive, social audio networks, with content drawn from radio drama and radio art, may provide models for these new forms of electronic literature that are deep, rich, engaging, and immersive literary experiences that locate the text not (solely?) in the acts of reading and writing, but also in the act of listening.
Scott Rettberg - 04.10.2013 - 11:32
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One + One = Zero – Vanishing Text in Electronic Literature
The concept of “erased” text has been a recurrent theme in postmodernist criticism. While most speculation about the presence or absence of an absolute text is applied to print literature, the manifestations of digital text present a new and entirely separate level of investigation. The combination of visible language and hidden code do not negate the basic questions of language and interpretation – these continue to be important in our study of electronic texts. However, the visible text – under the influence of code – can be modified, transformed, and even deleted in ways that introduce markedly different implications for reading strategies and meaning structures. This paper will explore a selection of works from electronic writers illustrating text/code practices that involve disappearing “text.” Text can absent itself by the simplest of reader actions – the mouseover or the link which takes the reader to another “lexia” in the piece. But text can also be obliterated by actions of the code, unassisted by the reader/navigator. Moreover, there are intermediate techniques to create vanishing text.
Alvaro Seica - 04.10.2013 - 11:37
