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1. The Urban Metainterface

   Examples of everyday urban experiences with interfaces are numerous: TripAdvisor provides access restaurants, and other sights that are otherwise not clearly visible in the urban landscape; with Airbnb, any apartment in the city holds the invisible potential of a bed and breakfast, etc. In other words “every street corner and every local pub leads a double life.” (de Waal). The interface is however not just an interface to the city, but is a meta-construction that within itself holds a particular urban gaze (Andersen and Pold). This presentation focuses on the black box of the urban metainterface, and how the city is textualized beyond the street sign and the billboard; and how this produces a particular territoriality and perception of space. The urban metainterface depends on an ability to capture the user’s behaviors: the more the interface opens up the city – to diverse behaviors and signification – the more it needs to monitor the users and their milieu, and process these data. The more we read, the more we are being read. But what are the aesthetic mechanisms of seeing and walking in the city, whilst being seen and being guided? 

   Jana Jankovska - 05.09.2018 - 16:09

2. Born Digital

   “E-poetry relies on code for its creation, preservation, and display: there is no way to experience a work of e-literature unless a computer is running it—reading it and perhaps also generating it.” Stephanie Strickland outlines 11 rules of electronic poetry.

   Ana Castello - 02.10.2018 - 13:20

3. Activist Media Poetics: Electronic Literature Against the Interfacefree

   For the last year or two I’ve been focusing most of my research and writing on the notion of ‘interface’ – a technology, whether book or screen, that is the intermediary layer between reader and writing. What I’ve found is that ‘interface’ gives us a wedge to approach the broad and complex question of how the reading and writing of poetry have changed in the digital age and how the digital age has in turn changed the way in which we understand what I call “bookbound” poetry. It seems to me that a discussion of digital poetry in terms of interface – a discussion whose methodology is driven by the field of Media Archaeology – could be a crucial intervention into both poetry/poetics and media studies in that it meshes these fields together to 1) make visible the Human-Computer interfaces we take for granted everyday; and 2) to frame certain works of electronic literature as instances of activist media poetics.

   Ana Castello - 02.10.2018 - 18:39

4. Manifesto for a Post-Digital Interface Criticism (The New Everyday)

   We are living in an interface culture: wherever we are, we find touch screens, microphones, sensors, cameras; and we are constantly reminded of interfaces through their sounds. Whether mobile, networked or embedded in architecture or artefacts, the number of interfaces constantly increases to meet the desires of technologies, users and markets.

   Usually, an interface is understood as a technological artefact optimized for seamless interaction and functionality. However, the interface also draws upon cultural and artistic traditions, and plays an important role in our culture as art, entertainment, communication, work and businesses. It is a cultural form with which we understand, act, sense and create our world. In other words, it does not only mediate between man and computer, but also between culture and technological materiality (data, algorithms, and networks). With this, the mediation affects the way cultural activities are perceived and performed.

   Ana Castello - 02.10.2018 - 18:44

5. Reading Digital Poetry. Interface, Interaction, and Interpretation

   This study concentrates on reading digital poetry. Reading entails the act of reading, strategies of analysis, and the means of understanding. Specifically, this study constructs a model of reading and interpreting poetry in digital form by close analysis of three complex case studies. Broadly, this study concerns the aesthetic means and meanings of poetry in the contemporary moment, where new and old media are in visible negotiation with each other. In digital poetry artistic expression, digital media, technology and cultural practices clash and combine to produce new poetic forms. With new forms of poetry come new challenges to reading, analysis, and interpretation. Digital poetry presents new material, literary, technical, and rhetorical strategies and techniques that offer novel possibilities – and restrictions – for reading. Thus, my broad question is: How do we read digital poetry? This broad question is broken down to a subset of research questions. These deal with the material medium, readerly action, and the processes of the poem, which are all to be seen as constituent of its effects and meanings.

   Jill Walker Rettberg - 22.09.2020 - 12:35

6. Genre-bending on an Academic Platform: Three Creative Works on Scalar

   This paper investigates genre and media specificity of electronic literature created in Scalar. Scalar is a platform and authoring tool created specifically for humanities scholars to enable multimodal and multilinear publications. Besides scholarly work, Robert Budac's The Scalar Conspiracy [4], Steven Wingate's daddylabyrinth: a digital lyric memoir [12] and micha cárdenas' Redshift & Portalmetal [5] are all works of electronic literature created in Scalar. I demonstrate that all three of these works use Scalar to create genre-bending texts that build on and subvert the technological affordances as well as the contextual connotations that Scalar provides. The Scalar Conspiracy parodies the counter-intuitive user interface elements by making the reader investigate the text's different hidden messages. daddylabyrinth: a digital lyric memoir destabilizes the genre of the (auto)biography by promoting documentation and research while continuously showing how these processes fall short during the writing and reading process. Redshift & Portalmetal favors experience over documentation to create a work that is both immersive and theory-building.

   Hannah Ackermans - 18.10.2021 - 16:10

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