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Hypertext and bigos: On esthetic categories of modern and post-modern Polish fiction that may help us describe electronic literature in yet another way
Bigos is one of the trademark meals Poland can offer to the world of culinary traditions. Fried cabbage, slices of sauseges, vegetables, mashrooms, and almost anything a chef has at hand can be put into one pot and eventually become a delicious, warming up dish. Quite similiar technique can be seen in a certain tradition of novel writing that appeared during the Renaissance and Baroque in Poland, then flourished in XX century post-modern Polish fiction, but actually dates back to the Romans. It is called silva rerum ("a forest of things") and stands for a fragmentary, anti-mimetic, open-ended, essayistic kind of writing, which emphasizes its own status as a process rather than a product. As such, silvae rerum and its examples can form an interesting contribution to the field of electronic writing and hypertext theory. With the latter deriving its tools mostly from avant-garde and poststructuralist esthetics, silvae rerum can stand out as an alternative: it represents open-ended act of simultaneous "reading-writing", yet it comes not from the common fields of reference for e-lit scholars.
Eric Dean Rasmussen - 27.01.2011 - 16:39
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Teaching Digital Literature within a “Research and Teaching Partnership” in a Transatlantic Blended Learning Environment
This paper outlines the practices of teaching digital literature at the University of Siegen in Germany where Peter Gendolla and Joergen Schaefer taught courses on literature in computer-based media for students of both Literary and Media Studies. This paper thus provides an historical synopsis of the didactical transformations the teaching practices have undergone as well as an overview of the University’s profile and its focus on research and teaching literary studies. In 2007, the classroom moved online and held a class transatlantically in cooperation with Roberto Simanowski (Brown University/Providence, RI, USA). The online course approached an experimental Blended Learning concept. The paper introduces the methodological concept of the class “Digital Aesthetics” and discusses using Online Communication Systems in the context of the course of studies: Net Literature.
Eric Dean Rasmussen - 27.01.2011 - 16:52
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Some stylistic devices on media interface
author-submitted abstract: In the past, the “innovations” of electronic poetry often have been circumscribed in rather general terms; today, it seems important to characterize its stylistic, semantic and pragmatic devices with more precision. The traditional “figures of speech” have sometimes been considered as capable of achieving this aim. By denominations like “animated metaphor”, I have tried for example in my book Matières textuelles sur support numérique to describe “phenomena of meaning” in electronic literature, when animation effects enter in meaningful relations with the contents of words or letters. It is however undoubtedly dangerous to use a terminology which have been forged to characterize textual phenomena, whereas the signs of electronic texts are often based on various semiotic systems. In a recent article for the review Protée (which I also presented during the e-poetry seminar in Paris), while describing what I would call “figures of speech on media surface”, I sometimes continue to use traditional taxonomies; in order to avoid too dangerous analogies, I try in other cases to invent a new terminology.
Eric Dean Rasmussen - 27.01.2011 - 16:57
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Intertextuality in Digital Poetry
Despite postmodern and deconstructivist studies in the field, interxtuality is still often viewed as a process of textual closure: in that vision a text refers to an older text, and once we have found the source, the intertextual interpretation is completed.
Riffatterre, for example, seems to suggest this in his article ‘Intertextuality vs Hypertextuality’ (1994). Riffaterre stated here that intertextuality and hypertextuality should be distinguished, since the former is finite, while the latter is infinite. He defines hypertextuality as ‘the use of the computer to transcend the linearity of the written text by building an endless series of imagined connections, from verbal associations to possible worlds, extending the glosses or the marginalia from the footnotes of yesteryear to metatexts’ (Riffaterre 1994: 780) Intertextuality, on the other hand, ‘depends on a system of difficulties to be reckoned with, of limitations in our freedom of choice, of exclusions, since it is by renouncing incompatible associations within the text that we come to identify in the intertext their compatible counterparts’ (ibid: 781).
Eric Dean Rasmussen - 27.01.2011 - 17:01
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Karin Wenz
Karin Wenz is Assistant Professor for Media Culture at the University of Maastricht (The Netherlands). Her Ph.D. thesis was on “Space, Spatial Language and Textual Space” (Raum, Raumsprache und Sprachräume, award of the German Association of Semiotics in 1996). She worked as a Guest Professor at Brown University (USA) in 1998, and as a researcher at the Catholic University of Sao Paulo Brasil in 2000.
Eric Dean Rasmussen - 28.01.2011 - 19:50
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Hermes Science
Hermes Science
Scott Rettberg - 30.01.2011 - 15:01
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Littérature numérique: le récit interactif
The expression interactive literary narrative applies to a variety of works. In its diversity, the interactive literary narrative raises questions on narratives, interactive architecture, multimedia as well as on literature. It is because the interactive literary narrative is wrought by tensions that it has this questioning and maybe even revealing capacity.
Scott Rettberg - 30.01.2011 - 15:03
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Evan Raskob
A University Lecturer and practicing artist whose works span the mediums of moving image, sound, installation, performance, and interactive art. Exhibitions include Waving / Drowning, a gallery show of human movements crystallized into a series of digital prints, sculptures, and interactive software, and Drawn Together, an interactive installation project exploring creative crowd sourcing in hand drawn music videos. He is an active member of both the open source and visual performance communities in London, New York, and world-wide. Evan also organizes Openlap Workshops , a regular series of workshops in free, Open Source creative technologies. Over the past year and a half, Openlab Workshops ran over 14 workshops, including regular workshops at SPACE Studios in London, a “One Button Challenge” workshop in Arduino and Processing at the AND Festival in Manchester, and an Advanced Processing workshop at the Centre for Advanced Spatial Analysis at UCL..
Scott Rettberg - 30.01.2011 - 17:39
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Matières textuelles sur support numérique
Matières textuelles sur support numérique
Scott Rettberg - 30.01.2011 - 17:45
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E-Formes 1 : Ecritures visuelles sur support numérique
E-Formes 1 : Ecritures visuelles sur support numérique
Scott Rettberg - 30.01.2011 - 17:46
