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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
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Electronic Literature as a Means to Overcome the Supremacy of the Author Function
In his seminal essay “What Is an Author?” Michel Foucault maintains that we can only accept literary discourses if they carry an author’s name. Every text of poetry or fiction is obliged to state its author, and if, by accident or design, the text is presented anonymously, we can only accept this as a puzzle to be solved, or, one could add, as an exceptional experiment about authorship that is verifying the rule. This was in 1969. In the meantime, a profound change of all forms of social interaction has been taking place. Amongst them are works of electronic literature that use the computer in an aesthetic way to create combinatory, interactive, intermedial and performative art. One could argue, of course, that electronic literature as new media art often only is a proof of a concept addressed to the few tech-savvy select. However, these purportedly avant-garde pieces break the ground for developments that might happen barely noticed, and by this serve an important political, ideological, aesthetic and commercial purpose. Amongst these developments is a change of the seemingly irrevocable rule of the author in literary discourses.
Hannah Ackermans - 16.11.2015 - 10:07
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Abandoned and Recycled Electronic Literature: Jean-Pierre Balpe’s La Disparition du Général Proust
his presentation addresses the fate of 1990s pioneering programs of electronic literature during the 2000s. What happened to 1990s electronic literature aesthetic theories and programs once its distribution shifted from floppy disks and CD-ROMs to the Internet? How did early authors of electronic literature revisit their work in light of the ubiquity of the Internet as a form of writing?
Hannah Ackermans - 16.11.2015 - 10:13
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Boolean Poetics: The Search String as Post-Literary Technique
Over the past decade, expanding access to Big Data has produced a number of innovations in electronic literature and digital culture more broadly, ranging from Twitter bots, media art and generative poetry utilizing social data to vernacular creative writing, journalism and fictocriticism on platforms such as Tumblr and BuzzFeed. These divergent modes of expression all rely on the ability to find and sort high-volume, real-time, multimodal digital data – for example tweets, Instagram photos, animated GIFs, YouTube videos, SoundCloud audio tracks and more – and recombine them in novel works of bricolage. Yet despite the increasing prominence of these writing practices, they have received scant scholarly attention.
Hannah Ackermans - 16.11.2015 - 10:16
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The Generative Literature Project & 21st Century Literacies
In Fall 2014 I taught a “special” version of my “Writing Electronic Literature” course. Throughout this class my students received an overview of established and emerging forms of Electronic Literature including hypertext fiction, network fiction, interactive works, and digital poetry. Students read, analyzed, and composed a variety of emerging genres of Electronic Literature. Yet what was unique to this particular iteration of my E-Lit class was that my students contributed to a transmodal generative novel to be published in late 2015 by the academic journal Hybrid Pedagogy. The idea of a generative novel is one that can be traced to the OuliPo group (Ouvroir delittérature potentielle) in France. According to the OuliPo website, the generative writer is “un rat qui construit lui-même le labyrinthe dont il se propose de sortir” (trans. “a rat who builds the maze he wishes to escape”). In this understanding of art and literature, the idea of creation, especially literary creation, is one of wordplay and gameplay. Therefore, the generative novel is, in itself, a game – one of interplay between people, cultures, and institutions.
Hannah Ackermans - 16.11.2015 - 10:21
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Bringing Scandinavian E-Lit in from the Edges
For centuries, Scandinavia comprised the “ends of the Earth” to continental Europeans. As A. E. Nordenskiöld’s 1889 Facsimile-Atlas notes, “Until the middle of the 16th century…geographers took no notice of what was situated beyond lat 63° N….” (54). Today’s e-lit map might look similar. Although Scandinavia produces many creative e-lit works, a relatively small number of critics have investigated them. It is likely that Scandinavian e-lit eludes most e-lit scholars because Scandinavian languages are less familiar than English, French, German, or Spanish. However, there are also a number of excellent works of Scandinavian e-lit in English. This talk will highlight some of these, such as Anders Bojen and Kristoffer Ørum’s Radiant Copenhagen. Radiant Copenhagen is a closed-loop work that plays brilliantly with multiple timelines, incorporating visual and textual elements. The reader navigates a geomap of Copenhagen to read a multiplicity of articles about the capital city.
Hannah Ackermans - 16.11.2015 - 10:25
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Archiving Electronic Literature Beyond its End: Archiving Nordic Works at an Academic Library, a Presentation of a Collaboration in Progress within the University of Bergen
How reliable are archives and databases of born-digital works of electronic literature when their digitally driven platforms are endangered by digital obsolescence and technological challenges, hacks, and by a lack of long-term maintenance after a funding period’s end?
Some of the databases within the field of electronic literature are no longer accessible due to one of the reasons mentioned above: the Cyberfiction Database (directed by Beat Suter) that featured German works that were published between 1996-2003 is down after a move from one server to another; ELINOR: Electronic Literature in the Nordic Region (directed by Jill Walker Rettberg, 2004-06) was terminated after the project’s funding ended, and the ELO’s wiki-based archive-it database that was set up in 2007 for allocating works for archiving was hacked. The risks are also there for the (still accessible) Drupal-based Electronic Literature Knowledge Base, no longer funded as part of the ELMCIP project (Electronic Literature as a Model of Creativity and Innovation in Practice, 2010-2013).
Hannah Ackermans - 16.11.2015 - 10:31
