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1. Translating afternoon, a story by Michael Joyce, or How to Inhabit a Spectral Body

   If we are to follow Paul de Man’s reading of Walter Benjamin’s famous essay “The Task of the Translator” , the translating process, far from being an attempt at totalization, further fragments the already fragmented pieces of a greater vessel, "die reine Sprache", or pure language, which remains inaccessible, and stands for a source of fragmentation itself. The work exists only through the multiple versions it comprises. As claimed by Walter Benjamin in « The Task of the Translator », a work always demands a translation which is both an alteration and a guarantee of its perpetuation : "(…) it can be demonstrated that no translation would be possible if in its ultimate essence it strove for likeness to the original. For in its afterlife -- which could not be called that if it were not a transformation and a renewal of something living -- the original undergoes a change."
   

   Rebecca Lundal - 17.10.2013 - 16:17

2. On Polish Translation of Sea and Spar Between

   Stephanie Strickland's and Nick Montfort's See and Spar Between is in many respects a translational challenge that in some languages might seem an impossible task. Polish, our target language, imposes some serious constraints: one- syllable words become disyllabic or multisyllabic; kennings have different morphological, lexical and grammatical arrangement, and most of the generative rhetoric of the original (like anaphors) must take into consideration the grammatical gender of Polish words. As a result, the javascript code, instructions that accompany the javascript file, and arrays of words that this poetry generator draws from, need to be expanded and rewritten. Moreover, in several crucial points of this rule-driven work, natural language forces us to modify the code. In translating Sea and Spar Between, the process of negotiation between the source language and the target language involves more factors than in the case of traditional translation. Strickland and Montfort read Dickinson and Melville and parse their readings into a computer program (in itself a translation, or port, from Python to javascript) which combines them in almost countless ways.

   Jill Walker Rettberg - 04.11.2013 - 13:36

3. La littérarité du code informatique TRANS.MISSION [A. DIALOGUE]

   Pour le numéro d’automne 2013 de la revue de littérature hypermédiatique en ligne bleuOrange, j’ai eu l’occasion de traduire l’œuvre TRANS.MISSION [A. Dialogue] de J. R. Carpenter. Créé en 2011, TRANS.MISSION [A. Dialogue] est un récit généré par un programme informatique, un fichier JavaScript écrit en HTML 5.

   J. R. Carpenter - 05.05.2014 - 11:05

4. TRANS.MISSION [UN.DIALOGUE]

   TRANS. Un préfixe qui décrit une traversée. Un préfixe qui peut être géolocalisé : transatlantique. Un préfixe qui s’exprime par un mouvement : transférer, transporter, transiter. MISSION. Un groupe de personnes envoyé dans une contrée étrangère qui assiste, négocie, ou encore établit des relations sur ce nouveau territoire. Une tâche opérationnelle comme un programme informatique. DIALOGUE. Une conversation entre deux ou plusieurs personnes. Un récit littéraire qui prend la forme d’une conversation. TRANS.MISSION [UN.DIALOGUE] est un dialogue généré par ordinateur, un récit littéraire ou encore une conversation qui traverse les réseaux de communication transatlantiques. C’est une narration qui voyage sur l’océan, cherchant à envoyer un message aux habitants et aux voyageurs des côtes maritimes. Les particularités des dispositifs techniques, comme les interférences et les échecs de transmission, ont marqué des générations de migrations transatlantiques et témoignent des réalités propres aux outils de communication.

   J. R. Carpenter - 20.05.2014 - 12:20

5. Visualizing la(e)ng(-u-)age

   Electronic literature not only engages “new media” elements (such as links, navigation, structure, animation, color, images, sound, computer programming) but also toys with the very foundation of literature—the language itself. After 20 years, we need to look back to remind people about these en(gag)(-tangl-)ements. As language is rapidly shifting with new te(xt )chnologies, we need to look ahead to see where electronic literature can engage with these emerging forms of language.

   First, I will briefly present previous works to provide a history of electronic literature’s engagement with language. I will cover:

   Character-augmented languages such as:

   · Talan Memmott’s Lexia to Perplexia and Mez’ mezzangle (languages using regular fonts which add or subtract characters to words to create other words, usually employing parentheses)

   · My work-in-progress Chronic (a handwritten language which adds or subtracts letters in a similar manner but employing upper characters to add letters and overbars to subtract letters)

   Visual languages such as:

   Scott Rettberg - 19.06.2014 - 20:31

6. Estética de la hipernovela. Un género de la inestabilidad

   Nos preguntamos en este estado de la cuestión: ¿cuando pensamos en la HN, se trata
   solamente de un caso de traducción de formato? Y, ¿qué implicaciones y efectos tiene la
   HN para la crítica literaria? ¿El crítico puede usar solamente los instrumentos de análisis
   del código “escrito” impreso?

   Maya Zalbidea - 15.08.2014 - 15:08

7. Le Dernier Volcan

   This video project explores Norwegian folk histories that return as fragments in light of ongoing volcanic eruptions. The project was recorded in Bergen following the disruptions caused by the activities of the Eyjafjallajökull volcano in Iceland. A folk history of disaster is set against slowly revolving images set in a contemporary landscape. This is the first of a series of works recorded in Norway that juxtapose folk histories and contemporary events to explore narrative and associative characteristics of cultural anxieties and collective memory. The project was researched and filmed by Roderick Coover in 2010 thanks to a distinguished-scholar-in-residence award from the University of Bergen.

   Alvaro Seica - 13.11.2014 - 23:32

8. Writing Coastlines: Locating Narrative Resonance in Transatlantic Communications Networks

   The term ‘writing coastlines’ implies a double meaning. The word ‘writing’ refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances, and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. The term ‘writing coastlines’ may refer to writing about coastlines, but the coastlines themselves are also writing insofar as they are translating physical processes into marks and actions. Coastlines are the shifting terrains where land and water meet, always neither land nor water and always both. The physical processes enacted by waves and winds may result in marks and actions associated with both erosion and accretion. Writing coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, both points of departure and sites of exchange. One coastline implies another, implores a far shore. The dialogue implied by this entreaty intrigues me.

   J. R. Carpenter - 22.11.2014 - 21:44

9. multi.com.plicity

   Multiplicity
   1. A large number or great variety
   2. The state of being multiple

   Complicity
   1. The fact or condition of being an accomplice, esp in a criminal act

   multi.com.plicity is a twenty-first century translation of Guy de Maupassant's short story Mes vingt-cinq jours (My Twenty-Five Days), originally published in 1885, and translated into English by Albert M.C. McMaster, A.E. Henderson, Mme. Quesada et al.

   multi.com.plicity takes de Maupassant's story and reimagines it, changing a health resort in 19th century France to a laboratory complex in an unspecified future, and inhabiting the story with nameless clones and technology. In this way the story eschews the notion of a literal translation in favour of a temporal and situational carrying across of de Maupassant's tale, with multiple layers of perception as realised through randomised image and video layers.

   Chris Joseph - 01.01.2015 - 11:39

10. Stéphane Mallarmé's The Conversation

    Stéphane Mallarmé's “Demon of Analogy” is a prose poem about demonic nature of mishearing. Francis Ford Coppola's “The Conversation” is about the demonic technologies that allow us to hear all-too-well. Joe Milutis' “Stéphane Mallarmé's 'The Conversation,'” with little to no editing mashes up these classic texts, to suggest that one may be a mishearing (or spooky translation) of the other. In addition, the original text of the Mallarmé poem is translated by way of a number of bending techniques that, while getting back to the original sound and meaning of the French, bend, distort and remix the original. This project is part of a larger scholarly and creative exploration of experimental translation as an extension of remix and appropriation practices. A number of chapbooks, videos, lectures and performances have emerged from this project, including Monkey pOm!

    Marius Ulvund - 05.02.2015 - 15:38

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