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Making Sense: aspects of the literary in electronic environments
This paper investigates the manner in which e-literature is reconstructing and intensifying some of the sensory capacities of literary language. The interactive nature of many works, as well as their use of image and sound and the fact that the ‘surface’ text is produced and informed by a ‘deeper’ level of generative code, means that new critical concepts, vocabularies and ways of reading adequate to this new situation need to be developed. Katherine Hayles. John Cayley, Talan Memmot, and Rita Raley, have all written authoritatively on the importance of software and code in determining approaches to electronic poetics, and the difference this makes to how we understand new media writing. Matt Kirschenbaum makes the distinction between formal and forensic materiality in order to break down the emergent logics at play in the digital ‘text’. We introduce a different perspective, one that focuses on the ecology of the body (its distribution) in its engagement with different forms.
Audun Andreassen - 14.03.2013 - 14:36
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Space for writing: a sidelong glance at the history of immersive spatial hypertext
The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.
(Source: Author's abstract for ELO_AI)
Audun Andreassen - 14.03.2013 - 14:42
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Writing Organism: CAPTCHA as a paradigm of *literary* digital textuality
I start from CAPTCHA, those distorted strings of letters set against colors and designs, which we all recognize and rewrite to gain access to web sites. CAPTCHA operate in a complex intersection between commercial and scientific institutions, on the one hand, and concepts of mind and being, on the other. The Turing test is the background supposition of CAPTCHA's claim that recognition and rewriting is the iterative presentation and production of a singular human self. It is iterative and weak, in that it must be repeated and rewritten, and in that it is open to failure and misrecognition. It is singular and productive in that each test ties to an event that can be leveraged commercially - as in the reCAPTCHA project or (I argue) in related "distributed work" programs such as the Amazon Mechanical Turk - and in that the "weak performativity" couples the test to a range of net activities on the part of a speaking subject. (I contrast this to the traditional linguistic "shifters," and instead approach the subject in terms of a Kleinian "psychoanalytic graphology.")
(Source: Author's abstract for ELO_AI)
Audun Andreassen - 14.03.2013 - 14:46
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Remediating Stretchtext
Seventeen years have passed since Coover's inspiring call to defy the tyranny of the line through hypertext, "where the line in fact does not exist unless one invents and implants it in the text." The profound influence of that clarion shaped the development of electronic literature and attracted the scorn of critics — Sven Birkerts, Laura Miller, Michiko Kakutani – who villified hypertext in defense of the line. Overlooked in the controversy is the embarrassing fact that, even today, we know remarkably little about inventing, implanting, and cultivating the narrative line in its organic richness. We know sequence and rhizome well, but the contours of recursus, timeshift, and renewal remain, for most writers, an arcane craft.
How may we render a satisfactory account of complex events, fictitious or historical? We want hypertext narrative to do things we cannot achieve in print, and though we may occasionally use links or actemes to introduce variation in presentation or in story, it is now clear that hypertext will most frequently prove useful in changing (or adapting) plot.
Audun Andreassen - 14.03.2013 - 15:04
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Towards the delight of poetic insight
I am interested in the specific nature of POETIC insight and knowledge (Erkenntnis) in relation to other systemic spheres like, e.g., science or religion. As an approach to this subject my paper will discuss how poetic knowledge is addressed by the handling of ‘innovation’. Innovation will be observed as feature between reflexivity and potentiality in poetic experimentation. These poetological categories will be related to both practical and theoretical forms of technology driven language art. As exemplary forms I will focus on the radio play "Die Maschine" (The Machine, 1968) which simulates an Oulipo computer and was written and realized by George Perec and on its poetic comment by Florian Cramer (pleintekst.nl, 2004) as well as on the historical concept of ‘artificial poetry’ by Max Bense (in respect of his 100st anniversary) in the light of recent poetological concepts of innovation.
(Source: Author's abstract)
Audun Andreassen - 14.03.2013 - 15:18
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Eccentric Gameplay: Simulating the Digital Any-Space-Whatever
Our paper will address issues related to aesthetic gaming and the way in which concepts of the literary are being reconfigured in a new genre of videogames that we have termed eccentric games. Using games such as Achron (forthcoming 2010), Braid (2008), Cursor*10 (2008), Echochrome (2008), levelHead (2008), Game-Space (2008-09), and Portal (2007), we suggest this genre can be characterized by game mechanics which manipulate space and time in such a way that the player must access a logic indigenous to digital environments. Eccentric games can be further described through their reliance on filmic interface as an apparatus for modeling eccentricity, tutorialized presentations of gameplay, and its common classification within the overextended "puzzle" genre.
Audun Andreassen - 14.03.2013 - 15:22
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Golpe de gracia and the Latin American Electronic Literature
Golpe de Gracia by Jaime Alejandro Rodríguez Ruiz is a landmark of Latin American electronic literature. There is no other digital narrative in Spanish that compares in craftsmanship or creativity to Golpe de Gracia. In contrast with other Latin American digital pieces, Golpe de Gracia departs from the premise that this narrative is digital and as such should take advantage of a variety of tools to bring to the fore the most relevant aspects of this piece. In Golpe de Gracia Rodríguez Ruiz challenges the reader/participant to traverse a series of layers to decode the meaning behind a series of intertwined stories and metaphors. To accomplish this goal, Rodríguez Ruiz has incorporated games, animations, a wiki, a blog and a sophisticated layer of narratives. In this presentation I will critically analyze Golpe de Gracia taking into consideration the information systems framework presented by the panel “Rereading E-Lit as Information Systems” in the 2007 ELO conference.
Audun Andreassen - 14.03.2013 - 15:35
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Between Experiments and Traditions: Italian and Portuguese E-poetry
This paper aims at analyzing the historical evolution of poetry experiments in Italian and Portuguese languages. Poetry has always been interested in experimenting with new ways of writing; however the computer and internet media make the experiments with the language a basic question. The first part of this paper will refer to a historical approach tracing the most important breakpoints in the poetry development in Italian and Portuguese languages during the last century. We will focus above all on Italian Futurism and visual poetry and we will connect Italian visual poetry tradition to Brazilian concrete poetry to identify the main characteristics and to define the links between these movements and the contemporaneous epoetry environment. In the second part some Italian Portuguese e-poetries will be presented and analyzed. A close-reading of some famous works will be proposed trying to identify the strategic elements which constitute the poetics of digital text - the infographic images, the poeticity of the elements, theirs [il]legibility, the pluri-signification of the relation image.
Audun Andreassen - 14.03.2013 - 15:41
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The magnificent 7
The aim of this paper, titled “The magnificent Seven” as an echo of the homonymous film, is to introduce the works of different authors that have been included in the Electronic Literature Collection (vol. II) and that are not in English. Following the panel that the ELO introduced in Maryland that opened the e-lit works in languages other that English, here the step has moved convincingly forward since 12 authors from countries such as Brazil, Portugal, France, Israel, Belgium, Colombia, Germany, Perú, México, Catalonia and Spain have been introduced in the vastest English corpus. Some of these authors write in English or have had their works translated into English (Tisselli, Berkehenger, Kruglanski, etc.) but this paper, included in a specific panel that deals with e-lit works non written in English, will analyze in an exercise of “close-reading”, this “magnificent seven” works in Romance languages on the collection: Isaías Herrero’s La casa sota el temps and Universo molécula, Doménico Chiappe’s Tierra de extracción, Ton Ferret’s The fuguebook, Chico Marinho et al. Palavrador and Amor de Clarice and Poemas no meio du caminho by Rui Torres.
Audun Andreassen - 14.03.2013 - 15:46
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The Heuristic Value of Electronic Literature
What makes electronic literature interesting for researchers?
Maybe not its artistic and literary value, but rather its heuristic value.
Indeed electronic literature not only permits previous media to be reexamined (paper for instance), but it also allows several well-established notions to be questioned (cf. figure above) such as:
- narrative in narratology;
- text in linguistics and semiotics;
- figure in rhetorics;
- materiality in aesthetics;
- grasp in anthropology;
- memory in archivistics;
- literariness in literary studies…Exploiting the heuristic value of electronic literature has two consequences:
- an evolution of some notions in certain scientific disciplines, and maybe of the disciplines themselves;
- a revealing effect regarding both digital technology and interactive and multimedia writing.Audun Andreassen - 14.03.2013 - 15:51
