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1. ELO2016 panel, “Feminist Horizons”

   ELO2016 panel, “Feminist Horizons”

   James O'Sullivan - 17.01.2017 - 22:55

2. Poétique des oeuvres hypermédiatiques dans un corpus d'adaptations de littérature pour la jeunesse

   Par l’analyse d’un corpus d’adaptations de textes classiques et contemporains, l’article interroge l’hypothèse d’une poétique des œuvres hypermédiatiques, fondée sur les caractéristiques qui les constituent : leurs matières textuelles composites (et non exclusivement verbales), l’organisation des espaces de l’écran, la gestion de la page, les animations et l’interactivité.

   Eleonora Acerra - 21.02.2017 - 17:34

3. Hyperrhiz 15: Open Issue

   Hyperrhiz 15: Open Issue

   Kristen Lillvis - 07.06.2017 - 20:39

4. Hyperrhiz 14: The End(s) of Electronic Literature

   Hyperrhiz 14: The End(s) of Electronic Literature

   Brandi Estey-Burtt - 07.06.2017 - 20:42

5. Collapsing Generation and Reception: Holes as Electronic Literary Impermanence

   This essay discusses Holes, a ten syllable one-line-per-day work of digital poetry that is written by Graham Allen, and published by James O’Sullivan’s New Binary Press. The authors, through their involvement with the piece, explore how such iterative works challenge literary notions of fixity. Using Holes as representative of “organic” database literature, the play between electronic literature, origins, autobiography, and the edition are explored. A description of Holes is provided for the benefit of readers, before the literary consequences of such works are examined, using deconstruction as the critical framework. After the initial outline of the poem, the discussion is largely centred around Derrida’s deconstruction of “the centre”. Finally, the literary database as art is re-evaluated, drawing parallels between e-lit, the absence of the centre, and the idea of the “deconstructive poem”.

   Kristen Lillvis - 07.06.2017 - 20:42

6. "Flows Dream / Shapes Hold": Tijdsgebondenheid, Overwriting, en Remixen in Generatieve Dichtkunst

   Generatieve dichtkunst is een genre dat voor velen nog onbekend zal zijn. In dit artikel biedt literatuurwetenschapper Hannah Ackermans een nadere kennismaking met deze vorm van e-poëzie. Via een analyse van de online gedichtengenerator Taroko Gorge van Nick Montfort bespreekt zij hoe drie kenmerkende eigenschappen van generatieve literatuur, namelijk tijdgebondenheid, overwriting en remixen, spelen met het idee van auteurschap. In hoeverre is er nog sprake van een auteur als een algoritme de gedichten creëert?

    

    

   Hannah Ackermans - 27.06.2017 - 09:25

7. The Endgame or a Wake?: Tropes of Circularity in Literature Then and Now

   This paper argues that attending to the tropes of circularity featuring in print-based literature proves to be a useful foil for an analysis of electronic literature. Based on the idea that digital literary mechanisms do not obliviate previous circularity-inducing structuring motifs in analog literature, such as labyrinths, chess, rivers, and clockwork, this argument arrives at a crucial time for literature, which is currently the object of intensified debates on beginnings and ends, especially in the context of digitality and multisensory perception becoming central to some aspects of its processes. Accordingly, circular motion is here analysed in its depiction and actuation across several kinds of literary / literal machines, in reflection also on how sensory perception both mediate and is mediated. If literature is conditional upon a series of unique, though interconnected, mechanisms, it seems reasonable not to discard a certain circularity of the senses that is brought into play there and, indeed, given both thematic and formal substance in analog and digital works.

   Diogo Marques - 26.07.2017 - 13:51

8. Through the Touching Glass: Literature for Haptic Inter[(surf)aces]

   Leaps and take-offs

   The blue sky above us is the optical layer of the atmosphere, the great lens of the terrestrial globe, its brilliant retina.
   From ultra-marine, beyond the sea, to ultra-sky, the horizon divides opacity from transparency. It is just one small step from earth-matter to space-light – a leap or a take-off able to free us for a moment from gravity.

   Paul Virilio, Open Sky

   Diogo Marques - 26.07.2017 - 13:58

9. Grasp All, Lose All: Loss of Grasp and Non-Functional Digital Interfaces in Electronic Literature

   “And one should understand tact, not in the common sense of the tactile, but in the sense of knowing how to touch without touching, without touching too much, where touching is already too much.” Jacques Derrida

   A “hasty conclusion”, perhaps, as stated by Derrida, yet, one that was (and still is) able to cause an intense discussion among philosophers. In his questioning of touch, Derrida draws on Jean Luc Nancy’s philosophy of touch, particularly on the latter’s paradox of intangible tangibility, as a way to explore a slightly different meaning of the verb haptein (to be able to touch, to grab, to attach, to fasten), but also meaning “to hold back, to stop” (Nancy [2003]: 2008, 15).

   Diogo Marques - 26.07.2017 - 15:56

10. Gestos de Subversão. Estratégias de significação e afecto no Experimentalismo poético

    The present article proposes a reflection on the much-discussed theme of the ―neobaroque‖ in experimental literature. Drawing attention to the presence of baroque influence in the literary art of Italian Futurists and Experimental Portuguese Poets, I argue that, if cybernetic poetry is to be seen as a continuation of Experimentalism, its growing emphasis on gesture and touch should be analysed in accordance with theories pointing to the presence of a gestural dimension in the baroque and, as a consequence, in historical avant-garde movements. Particular emphasis will be given to the theoretical writings of Italian Futurist Filippo Tommaso Marinetti and Experimental Portuguese Poet Ana Hatherly, two Vanguard exponents whose artistic works were directly concerned with the tactile/haptic dimension of arts.

    Diogo Marques - 26.07.2017 - 16:10

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