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1. The Fundamentals of Digital Art

   The book examines the way digital technology is forcing a complete rethink of creative priorities for artists in the twenty first century. Written from an artist's perspective, the author has had the cooperation of many important practitioners in digital arts in countries across the world. The book is written in an accessible style and alongside examples of work offers practical know-how that will enable to reader to begin using some of the methods described for themselves.

   The Fundamentals of Digital Art has six sections and each of these takes a specific aspect of the subject.

   Historical perspectives
   Dynamic “live” art
   The use of data sources in art
   The place of programming languages
   Network considerations
   Hybrid practice and the blurring of specialist boundaries.

   176 Pages with 150 colour illustrations

   Source: book presentation on accompanying website

   Patricia Tomaszek - 27.08.2012 - 17:06

2. The Problem of Form: Transitoire Observable, a Laboratory for Emergent Programmed Art

   I will present some conceptions of programmed art focused on the problem of form. I will not explain here the different approaches but only open the question in the perspective of the procedural model. I will start from the basic common point of view of the collective Transitoire Observable and, after an overview of some aspects of the procedural model, I will pose the question of form as a specific management in the programming of arbitrary aesthetic constraints that are posed by the author in his management of the situation of communication created by the work whatever the surface aesthetics is on screen. In this sense, we will speak of “programmed forms” as forms in programming and not as forms of the programmed multimedia event.

   Source: author's abstract in book publication

   Kristine Turøy - 28.08.2012 - 11:38

3. Code, Cod, Ode: Poetic Language & Programming

   Mutation or modulation of words manifest orthographic relations between variants but also sometimes suggest more elusive relations. Much importance can be seen in the specificity of language, especially considering the sum of variations of a single word in different languages. The word itself is a solid object at the center of such a set of permutations. The meaning of a sum of such variants can be likened to an array in programming. An array object can be greater than the sum of its parts, a concept that ties into Cubism as well as to poetry where languages mix. Other array poetry suggests geometric structure; this is poetry that creates meaning from empty space as much as from its solid textual areas. This is similar to the way that architecture creates meaning from empty spaces, as seen notably in uses of the arch. The structural strength of empty space can also be seen in a number of postmodern poems, where such space is integral to their expressiveness. These poems also use array concepts to inform the poem. It is useful to look at examples of code in my own work, which uses arrays and empty space as solid material in strings.

   Stig Andreassen - 28.08.2012 - 18:13

4. Principles and Processes of Generative Literature

   Generative literature, defined as the production of continuously changing literary texts
   by means of a specific dictionary, some set of rules and the use of algorithms, is a very
   specific form of digital literature which is completely changing most of the concepts of
   classical literature. Texts being produced by a computer and not written by an author
   require indeed a very special way of engrammation and, in consequence, also point to
   a specific way of reading, particularly concerning all the aspects of the literary time. In
   my paper, I will try to present some of the characteristics of generative texts and their
   consequences for the conception of literature itself.
   I call “engrammation” the adaptation of choices of expression to the technical constraints
   of the medium used for its mediatization. For instance, a book needs a fixed writing,
   and the mediatization by means of a screen needs other modalities of presentation.

   Source: author's abstract

   Kjetil Buer - 31.08.2012 - 11:15

5. Human Pratice - How the Problem of Ergodicity Demands a Reactivation of Anthropological Perspectives in Game Studies

   This article presents a critical review (not a rejection) of the concept of “ergodic literature”
   when applied to computer and video games. Therefore it goes back to some of
   the sources Espen Aarseth triggered when he appropriated the term from physics in
   1997 for the subject of cybertext and explains the necessary consequences of the term
   “ergodicity” for literature and games when it is not merely used metaphorically. A more
   cautious use of terms and concepts from other disciplines is suggested, especially as the
   term “ergodic” in physics has a different but relevant meaning in the context of these
   games. The article tries to mediate between some of the general anthropological claims
   of cybertext theory/game studies and the understanding of “ergodic systems” in thermodynamics and statistical physics. The problems that result from this mediation can be
   seen as symptomatic for the challenges of game studies in the more general mediation
   between different perspectives on games.

   (Source: Author's abstract)

   Stig Andreassen - 02.09.2012 - 21:13

6. Poesin banar ny väg bland ettor och nollor

   Poesin banar ny väg bland ettor och nollor

   Patricia Tomaszek - 05.09.2012 - 20:05

7. E-Learning and Literary Studies - Towards a New Culture of Teaching?

   The introduction of digital technologies into the learning processes has meant the creation of new educational spaces that, when they take place on the Internet and are founded in non-presence and asynchrony, are known as “Virtual Learning Environ- ments” (VLE). VLE constitute new pedagogic realities that must answer to the users’ needs, their educational purposes, the curricula with which they work and, specifically, the formative needs for the people that integrate them. But the key to define “virtual” in terms of human experience and not in terms of technological hardware is the concept of “presence,” which is crucial in our pedagogical model and our way of being comparative literature lecturers in a virtual university. Technologies are tools capable of building a learning frame, although it is necessary to endow them with contents and humanity. Different voices have warned of the sterility of a technological environment that does not have any pedagogic or didactic specificity (different from the traditional models). After all, learning is learning whether it has an ex- tra “e” or not, and so VLE are only as good or as bad as the ways they are used.

   Helene Helgeland - 06.09.2012 - 15:47

8. Humor — Technology — Gender, Digital Language Art and Diabolic Poetics

   This essay argues that the poetic turn from nothing to form art tends to “diabolic”
   strategies in present language allowing for a self-referential presentation of cultural distinctions.
   This poetic deconstruction of symbolic forms such as man/machine, male/female,
   or 0/1 is closely related to humor and gender in cultural and artistic performances.
   This shall be illustrated by discussing two examples of language art in the fi eld of digital
   electronics: the interactive installation Die Amme by Peter Dittmer and female extension, a
   subversive net art project by Cornelia Sollfrank. These projects are interpreted as gendered
   forms of the poetic as comic self-observation.

   Source: author's abstract

   Hannelen Leirvåg - 07.09.2012 - 07:35

9. The Challenge of Cybertext: Teaching Literature in the Digital World

   This article discusses the changing role of literature in the contemporary media landscape. Literary scholarship may well maintain its importance in the digitalizing world, but this requires it to engage in an open dialogue with cultural and media studies. It is important that more attention is paid to contemporary literature as well as to new media offering significant pedagogical possibilities, which should be better acknowledged. The article's main focus is on the emerging field of digital literature. Cybertextuality, especially, is fundamentally changing our notions of the integrity of a literary work, reading, writing and interpretation. I attempt to describe and put into context one sample case of cybertextuality, The Impermanence Agent by Noah Wardrip-Fruin et al. Finally, I discuss some of the practical problems faced by teachers who introduce digital literature in their classrooms.

   (Source: Author's abstract)

   Reprinted in Online Learning Vol 2: Digital Pedagogies (Sage, New York, 2011)

   Patricia Tomaszek - 09.10.2012 - 15:28

10. Poetic Transformations in(to) the Digital

    In our contribution we will discuss some projects in the field of digital poetics which transform or recreate poetic pre-texts that were not conceived for the electronic space. Our interest is to focus on the question of the site of digital poetics, i.e., on its discursive or systemic affiliation. These projects of transformation imply a justification: We derive digital poetics not primarily from theories or discourses of information and communication technology or the digital media culture, but from theories and histories of poetry and “language art” itself. While doing so, we do not ignore that electronic or computer poetry is turning problems of the actual media and technological culture, as well as its theoretical description, into poetological and artistic categories and categorization. The perspective on art itself means, quoting from Loss Glazier (2004), “Siting the ‘poetry’ in e-poetry, which means to read digital poetics against its poetological and historical background.” The examples that will be discussed refer to the tradition and evolution of language art by means of intertextuality.

    Johannes Auer - 05.11.2012 - 17:56

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