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Renderings: An E-Lit Translation Project
We report on Renderings, which focuses on translating highly computational literature into English. This has involved (1) locating literature of this sort that is written in other languages, (2) applying techniques that are typical of literary translation, (3) using programming and other Web development work to port and reimplement older works that are not easily accessed today, and (4) bringing literary and computational thinking together when the interaction of language and computing demand it. All four of these reveal cultural aspects of computational literature, including the one related to typical translation practices. The need to think in literary and computational terms as seen in (4) is particularly interesting, as is the search described in (1). Translators do not usually frame their search for work to translate as part of the translation task, but this is an explicit part of Renderings, which involves culturally specific investigations and considerations of different communities of practice.
Hannah Ackermans - 16.11.2015 - 10:38
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Literary Experiments with Automatic Translation: A Case Study of a Creative Experiment Involving King Ubu and Google Translate
The habitus of the translator is in many ways different from that of the author, the translator being sometimes viewed rather as a background figure, and translation having the double status of both an art and a craft requiring specific competence. Thus, it would seem, the consideration of “electronic translation” or experiments involving translation within the digital field would require a specific approach. Alongside the fascinating question of the translation of electronic literature, another subject worth exploring are the relations between automatic translation, or technology-aided translation, and creative literary activity. The question posed in the paper is how such connections can prove fruitful for new ways of thinking about translation and literary activities. The 1994 Encyclopaedia of Mathematics entry on automatic translation informs us that “automatic translation of literature and fiction is both unrealistic and unnecessary.” This seems to be a frequent view, accompanied by a certain anxiety among translation professionals as to the threat of automatic translation “stealing their job” within their lifetime.
Hannah Ackermans - 16.11.2015 - 10:42
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Translating E-poetry: Still Avant-Garde
The American poetry critic Marjorie Perloff undertook the task of rendering a solid theoretical framework to understand the evolution of the art of poetry after Modernism. Furthermore, she traced the evolution of “Postmodern” poetry, analyzing the most radical experiments including the digital poetry of the present. Based on Perloff’s perspective, this paper will observe the evolution of translation as part of the poetics of the American poet Ezra Pound and Brazilian poet Haroldo de Campos. Following its transformation as a writing strategy, they understood translation as a process adjacent to poetry, though the incorporation of translation as part of their own work would be observed as unethical for many critics. Therefore, Haroldo de Campos coined the term “Transcreation” in order to refer his translations as an original work. Interestingly enough, the paradigm for this sort of writing is the Irish writer James Joyce, whose controversial piece Finnegans Wake introduced not only linguistic but also metaphorical and historical translation.
Hannah Ackermans - 16.11.2015 - 10:46
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Digitising Ariadne’s Thread: Feminism, Excryption, and the Unfolding of Memory in Digital Spaces
Our contemporary digital age relies on the ontology of the hyperlink with its capacity to conflate time-space, which allows us immediate access to information in its varying forms of organization. The hyperlink brings texts, images, documents and modes of accessing information directly to our computer and mobile media screens, bypassing the old materialities and technologies for storage of cultural artifacts. Providing us with the fast convergence of information and cultural artifacts, it radically alters the manner in which we extend ourselves in time and space. Sybille Kramer argues that these changes are wrought through digital technologies that operate at the level of the subhuman and sub-perceptible level of the operation of digital code.
Hannah Ackermans - 16.11.2015 - 10:49
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Female Voices in Hispanic Digital Literature
This paper explores four of the most engaging female voices in Hispanic digital literature, aiming at discovering the singularity of their proposals and attempting to find patterns that will disclose, or not, the existence of a female techno-cultural identity in the field. Through the analysis of the works by Marla Jacarilla, Tina Escaja, Dora García and Teresa Martín Ezama, contained in the corpus of Ciberia: Biblioteca de Literatura Digital en Español, we will delineate the diorama of female artists at the ends of digital literature. At the ends, not only because they come from the South, the periphery of main digital literature creation centers, but because they situate themselves in hybrid artistic territories, between contemporary art and digital literature. The main questions we want to formulate are: Can we identify a homogenous female techno-cultural identity in the field of Hispanic digital literature? Or are the works we have gathered single-handed attempts in a cultural vacuum? What is the space granted to gender discourses in the digital literature written by women? Do these creators share a common feminist intentionality or ideological imaginarium?
Hannah Ackermans - 16.11.2015 - 10:56
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Research and Practice in Electronic Poetry in Ireland
This panel focuses on the production and criticism of electronic poetry in the Irish context. The participants in this panel represent both practitioners and scholars of electronic poetry and poetics in, and from, Ireland. While critics have frequently commented on the relatively conservative poetic culture in Ireland, the various contexts of the production, reception and criticism of poetry disseminated via new media technologies in Ireland remain patchily explored. The emergence of a body of poetry disseminated in electronic formats also raises questions that go beyond questions of “Irishness” and relate to the wider topic of electronic poetry as a form of cultural production. What is the role of national culture in the emergence of electronic/digital literature, and how does this relate to its irreverence of geographical and cultural boundaries? What constitutes poetry, and what is read as poetry, in the multimodal contexts enabled by the emergence of new media? What is the role of the publishing industry and literary scholarship in the emergence, reception and evaluation of electronic poetry?
Hannah Ackermans - 16.11.2015 - 11:01
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Running Out of Time: The Strategies of Ending in Digital Fictions
Ever since the early theorizing of electronic literature, both the beginning and ending of these literary works has been seen as problematic issues. In the spirit of Umberto Eco’s “open work” (in English 1989), especially hypertext works were considered challenging to the closed nature of literary work – there may be several entrances to the work, but even more importantly, there is no fixed ending but rather, alternative, optional exit points. J. Yellowlees Douglas’s The End of Books or Books without End, a cornerstone in this field, provided a detailed analysis of M. Joyce’s Afternoon, putting much emphasis on its various endings.
If the early 1990’s theoretical discussion was mainly concerned with hypertext, the current electronic literature scene with its dozens of new modes of expression, technologies and genres, has grown used to the fact that most of the works do not offer a definite ending, but either a set of alternative endings, or, no obvious ending at all. The openness of dynamic ergodic literature has become such a naturalized phenomenon that there has not been much theoretical interest in the question of ending in electronic literature lately.
Hannah Ackermans - 16.11.2015 - 11:05
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Digital Letterisms
According to Vilem Flusser, writing in the sense of placing letters or other marks one after another has little or no future (Flusser, 3). On the contrary, American conceptualists state that textual universe of the web is a victory of the verbal, liberating it, as earlier photography did for painting, from the task of representation and thus allowing it to obtain the artistic function (Goldsmith, 14). Indeed, in the world of digital communication, writing potentially acquires visual, audial, plastic, kinetic and computational features blurring the border between traditional writing and art practices. The work of many artists illustrates a trasition from concrete poetry to digital animation: John Maeda, Ottar Omstad, Jorg Piringer, Caroline Bergvall, Alexander Gornon, and many others. However, the reverse is also possible: transition from digital to postdigital – painted ASCII art (Ivan Khimin). So the letters are not only not dead, but the opportunities they acquire in the digital realm tie back to the central aspects of art history.
Hannah Ackermans - 16.11.2015 - 11:13
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Performance Art, Experimental Poetry and Electronic Literature in Portugal: An Intermedial Archive to an Intermedial Practice of Language
Considering electronic literature from a temporal perspective calls for a redefinition of our classical notions of time. It is impossible to anticipate its end because electronic literature appears as dynamic, and cyclic. Therefore, in order to think this ever-present artistic manifestation in its radical meanings and in a futuristic perspective, it is useful to know its past.
In Portugal, electronic literature, experimental poetry, and performance art share and explore the same performative concept of language, re-examining fundamental literary notions such as author, space, time, audience, medium, mediation and materiality. In this paper, we will present an intermedial archive to illustrate an intermedial field of practice.
This paper is thus based on current research on the history of Portuguese performance art. After framing and pointing out the close relationship between experimental poetry, performance art, and electronic literature in Portugal, we will present a timeline of Portuguese performance art (1915-1990), which will soon be available in the Digital Archive of Portuguese Experimental Literature (www.po-ex.net).
Hannah Ackermans - 16.11.2015 - 11:20
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Fandom Vs. E-Lit: How Communities Organize
“E-literature”, as defined by the ELO, is a fairly sweeping term. Any sort of “born digital” text can potentially be claimed as “e-lit”: video games, works of interactive fiction, fan fiction, et cetera. As a scholar, it is tempting to dragoon a favorite text, to bring it into an e-lit context. But to do this is to ignore the differences in the communities that supported these texts’ creation. Similarly, it is tempting to declare the “end of e-lit,” since so much e-lit can also be framed as fan fiction, video art, games, etc., but to do this is to ignore the impact of the e-lit community and its structure.
Hannah Ackermans - 16.11.2015 - 11:23
