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Publishing without a Publisher's Peritext: Electronic Literature, the Web, and Paratextual Integrity
With the book-based paratext theory Paratext: Thresholds of Interpretation (1987/1997), literary scholar Gérard Genette provides a tool that allows to examine how books ensure the text’s presence in the world, its “reception” and consumption (Genette 1).
Hannah Ackermans - 14.11.2015 - 15:43
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A Language Apparatus
Through the creative projects Bodytext, Tower and Crosstalk the author explores how language and communication function in a hybridized context where human and machine are responsible for both the articulation and interpretation of texts. The dynamics of such a hybrid apparatus allow insights into how the making of meaning and its reception can be considered as a socio-technical system, with implications for how people are situated and instantiated.
Bodytext, Tower and Crosstalk are language based digitally mediated performance installations. They each use progressive developments of generative and interpretative grammar systems. Bodytext (2010) was authored in Adobe Director and coded in Lingo and C++. Tower (2011) was developed with a bespoke large scale immersive virtual reality simulator and was coded in Python. Crosstalk (2014) was developed and coded in Processing.
Hannah Ackermans - 14.11.2015 - 15:46
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Aurature and the End(s) of Electronic Literature
The question of electronic literature – its definition, existence, significance, relationship with literature (plain and simple) – has always been bound up with questions of media and medium. New media. Electronic media. Media qualified by digital, computational, networked, programmable and so on. And all of these terms hypostasize practices while encapsulating and concealing an even more fundamental problem concerning their medium in the sense of artistic medium. Historically, as of this present, an electronic literature exists. It exists significantly, as corpus and practice, and as an institutionally supported cultural formation. It has established a relationship to literature as such, and this is also, to an extent, institutionally recognized. However, questions and confusions concerning media – signaled understandably but inappropriately by the absurd, skewmorphic misdirection of “electronic” – remain encapsulated in “literature” itself. The medium of literature is not letters or even writing. The medium of literature is language.
Hannah Ackermans - 14.11.2015 - 15:50
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From Mechanism to Subjectivity: The Posthumanist Performativity of Electronic Literature
In my earlier research, I have drafted a theory of literary communication using programmable and networked media based on Actor-Network Theory (e.g., “Reassembling the Literary: Toward a Theoretical Framework for Literary Communication in Computer-Based Media”, in Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres, eds. Jörgen Schäfer and Peter Gendolla, pp. 25-70). In this optic, the conceptions of “actor-networks”, or more precisely, the conceptions of distributed agencies and of chains of translations between human and non-human actors provide us with a framework that helps to relate human dispositions and corporeal activities, variable activity roles of human actors in the literary system (as “author”, “editor”, “reader”, etc.), changing media technologies and various literary procedures. The semantic field of “nets” and “networks” acquires a special significance because it stresses the uncertainty about sources of action.
Hannah Ackermans - 14.11.2015 - 15:55
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The Many Ends of Network Fictions: Gamebooks, Hypertexts, Visual Novels, Games and Beyond
This paper presents a digital humanities structural approach to branching stories across several media forms and genres over the past six decades – with special attention to patterns of endings in different narrative networks, as well as meta-patterns that mark the beginnings and endings of genres of branching literature.
Hannah Ackermans - 14.11.2015 - 15:58
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Reading, Seeing, and Sensing: The Internet of Things Makes Literature
Critics have understandably fetishized the electronic page or digital screen as a way to understand the relationship between the algorithmic logics that drive computation and the public rhetorics of display. At the same time an evolving set of practices within electronic literature continues to be in dialogue with contemporary digital media arts practice and its move to explore the meaning of incorporating autonomous sensing and new forms of human-computer interaction in dialogic works. Considering the rhetorical position of devices such as the iPad and considering them as more than viewing apparatuses or interfaces for reading it is possible to engage differently with a whole set of binaries around camera vs. scanner, optics vs. sensors, and representation vs. registration.
Hannah Ackermans - 16.11.2015 - 09:45
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Data Visualization Poetics
In the field of networks and big data, data visualization has become very popular in recent years. Scientists, artists, and software designers are working collaboratively using elaborate ways to communicate data, and visual design is playing a substantial role by making the language of science more accessible and comprehensible, through visualisations, in the form of infographics, sculptural objects, installations, sonifications and applications. But why this current outburst? Is it because of the availability of open data? The approachability of visual design? The need for new analytic methodologies in the digital humanities? Or, the fact that it is part of our collective consciousness?
This paper deals with the above questions and has evolved, as a practice-based research, in conjunction with the practical part, a mobile application designed to run on an iPad2 / iPad mini or later models. This work was created specifically for the SILT exhibition, hosted in Hamburg, Germany in June 2014.
Hannah Ackermans - 16.11.2015 - 09:50
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The S.I.C. Method and the Great Open Novel: An Unconventional Method for a Conventional End
Crowdsourcing, networking, online community, Fordism, division of labor. These are words that one usually does not think of as being important or pertinent when one is about to buy a book – a historical novel – from a bookstore somewhere in Italy in 2014. And, most of the time, “our common reader” would be right: those words are not important or pertinent. Besides, even the reading of the book itself will not make our common reader change his/her mind: it is a typical historical novel set in the Italian Resistance during World War II. Nothing suspicious at all. Still, something else is at stake here and those opening words not only have something to do with this book but, in some way, they have cooperated to produce it.
Turin, May 12, 2007. At the Fiera del Libro, Italian writers Vanni Santoni and Gregorio Magini presented something that – they hoped – would transform collective writing into a common literary practice: S.I.C., an acronym which stands for Industrial Collective Writing but these three letters, as a matter of fact, contain and mean much more.
Hannah Ackermans - 16.11.2015 - 09:55
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From The Unknown to Piksel Zdrój: Collaboration in E-literature: Models, Newcomers, Predictions
The talk reflects on the theoretical and practical aspects of collaboration in e-literature. Firstly a model of digitally enhanced collaboration that could encompass both its past and future instances is proposed. Matching several groups of categories (for example “production / negotiation / creation” against “material / story / discourse”) the model demonstrates that e-literature – even if we are really witnessing the end of it now – maintains its status of an important laboratory for any collaboration in digital environment.
Alongside acclaimed collaborative works (Forward Anywhere, The Unknown, A Million Penguins) several less known examples from Poland will be presented: Digital Green Eye (2012) and Bałwochwał (2013) – collaborative adaptations of Polish avant-garde classics – as well as Piksel Zdrój – a hypertext project by 8 authors published in 2015. The aim of the first part is to introduce both a universal analytical model and some rather unknown examples of e-literature to the international audience.
Hannah Ackermans - 16.11.2015 - 09:59
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Letter to an Unknown Soldier: A Participatory Writing Project
This paper will present Letter to an Unknown Soldier, a new kind of war memorial, made entirely of words. Created by writers Neil Bartlett and Kate Pullinger, the project was commissioned by Britain’s 14-18 NOW to mark the centenary of the outbreak of WW1. Inspired by Charles Jagger’s 1922 bronze statue of a soldier, who stands on Platform One of Paddington Station, London, reading a letter, the digital artwork invited everyone in the country to write their own letter to the soldier.
Letter to an Unknown Soldier began with letters commissioned from 50 well-known UK-based writers; it opened to the public for submissions from mid-May 2014, and all the letters received to date went online on 28 June (the centenary of the assassination of Archduke Ferdinand). The website remained open for submissions for 37 days, until 4 August (the centenary of Britain’s declaration of war). The project quickly snowballed in popularity. By its close, more than 21,400 letters had been received from around the world.
Hannah Ackermans - 16.11.2015 - 10:03
