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Spars of Language Lost at Sea
Our poetry generator, Sea and Spar Between, was fashioned based on Emily Dickinson’s poems and Herman Melville’s Moby-Dick. Both in its original edition and in the edition expanded with comments—cut to fit the toolspun course—it exemplifies seven different ways to seek and grasp text: 1) by porting code; 2) by translating text strings and processes; 3) by contrasting the page/canvas experience via a link or URL with the experience of reading code via “View Source”; 4) by harpooning a particular stanza and using the browser’s capability for bookmarking; 5) by creating human-readable glosses of code for readers who may not identify as programmers; 6) by relating its depthless virtual space to the import of Mallarmé’s Coup de dés as interpreted by Quentin Meillassoux; 7) by foregrounding non-translatability as a characterizing sieve for natural languages.
Arngeir Enåsen - 14.10.2013 - 15:35
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The Functional Point of View: New Artistic Forms for Programmed Literary Works
This essay analyzes the functioning of a text that was designed to be read in a private context, that uses the computer as an active tool during the reading, and that can be published on a permanent medium such as CD-ROM. The work is approached in its dual functioning mode: synchronic and diachronic. A functional model is proposed, which involves an analysis of the functions that operate in the communication process between the reader and the author. In this model, the work appears as a process and no longer as an object. The reading and the materialization of the object read become interdependent. The author analyzes the relationships between readability and faithfulness in the resulting work, properties that may be incompatible in the final text.
Source: Author's Abstract
Patricia Tomaszek - 21.10.2013 - 18:14
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Barroquismos Digitais
Existe um barroquismo nas criações poética digitais contemporâneas. Seria este um barroquismo de arte e engenho no modo de as obras operarem e no modo de se relacionar com o mundo digital daquele que cria e daquele que o usufrui. Barroquismo na maneira de se dar ao mundo da obra digital, na similaridade com o modo de ser das obras barrocas, considerando três características: materialidade da obra enquanto doadora de sentido, multimidialidade da obra e a interatividade entre obra e fruidor. Este artigo se propõe a apontar para esse barroquismo e certo continuum barroco na literatura digital.
(Fonte: Resumo do Autor)
Alvaro Seica - 29.11.2013 - 13:38
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Beyond the Googlization of Literature: Writing Other Networks
It's true, poets have been experimenting with producing writing (or simply writing, just writing of a sort not familiar to us - writing as input and writing as choosing) with the aid of digital computer algorithms since Max Bense and Theo Lutz first experimented with computer-generated writing in 1959. What is new and particular to the 21st century literary landscape is a revived interest in the underlying workings of algorithms, not just a concern with the surface-level effects and results that characterized much of the fascination in the 1970s and 1980s with computer-generated writing. With the ever-increasing power of algorithms, especially search engine algorithms that attempt not just to "know" us but to in fact anticipate and so shape our every desire, our passive acceptance of these algorithms necessarily means we cannot have any sense of the shape and scope of how they determine our access to information, let alone shape our sense of self which is increasingly driven by autocomplete, autocorrect, automata.
Daniela Ørvik - 17.02.2015 - 15:47
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Materiality
Materiality
Daniela Ørvik - 29.04.2015 - 16:58
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Digital Fictions: Storytelling in a Material World
When researchers in computer-mediated communications discuss digital textuality, they rarely venture beyond the now commonplace notion that computer textuality embodies contemporary post-structuralist theories. Written for students and faculty of contemporary literature and composition theories, this book is the first to move from general to specific considerations. Advancing from general considerations of how computers are changing literacy, "Digital Fictions" moves on to a specific consideration of how computers are altering one particular set of literature practices: reading and writing fiction.
Patricia Tomaszek - 24.09.2015 - 11:25
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Narrative, Affect and Materialist Aesthetics in Post-Digital Technotexts
After much excitement about hypertext fiction in the 1990s, many digital-literary-arts practitioners moved away from narrative. There seemed to be a recognition that the hyper-reading digital environments promote was not conducive to long-form narratives. Lev Manovich’s influential The Language of New Media (2002) declared that databases dominated over narrative; narrative was now a residual, if not yet obsolete, epistemological form. But born-digital authors have not entirely abandoned narrative; rather, the narrativity inherent to their artifacts has been diffused, redistributed across non-linguistic modalities. New production technologies make it easier to integrate images, animations, music, sounds, and other modalities into cybertextual artifacts often more akin to video games than novels. In multimodal environments, where textual output is more variable, narrative qualities can appear elusive or ephemeral. Nonetheless, narrativity, like other indicators of literariness, persists in new media writing.
Hannah Ackermans - 11.11.2015 - 16:26
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Latin American Electronic Literature and Its Own Ends
Framed by the theme of the 2015 ELO conference, the paper will examine several interwoven kinds of ends concerning Latin American electronic literature. In this case, the theme is particularly appealing when we consider specific aesthetic/political ends frequently pursued in Latin American contexts and when we situate this thought from “the end of the world”. In fact, being at one of the edges of the world, metaphorically and/or literally, drives one to specific aesthetic/political responses that take position in relation to hegemonic global imaginaries of technological modernisation.
Hannah Ackermans - 14.11.2015 - 15:36
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If the Message Is the Medium, Then There Is No End: Understanding and Defining Materiality in Representational and Communicative Practices Across Media
Media are always and at once substances and channels, both things and bridges. When we use this word medium, it is sometimes though not always clear in which sense we are using it. With broadcast media (television, radio) we tend to emphasize the network aspect. With fine art media (paint, ink, stone, clay), we tend to emphasize the material aspect. Yet as the 17th century painter and architect Frederico Zuccari reminds us in his writings about drawing as an artistic practice and medium, the inscription of a mark on a page is itself a bridge between an idea and its external realization. Thus every act of inscription is at once blending these two senses of the term media, thing and network. However, with digital media, the distinction between the two aspects of the term medium appear to be conflated and to collapse into each other. In this paper, I explore ways in which it may be possible to recuperate both senses of the term medium in a digital age by first acknowledging the importance of materiality to textual representation and communication practices and secondly, by developing a nomenclature for accurately describing the actions involved in such practices.
Hannah Ackermans - 28.11.2015 - 14:36
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This Is Not the Beginning or the End of Literature
It is too easy to fall into prognostications of electronic literature as the end of literature or as a new beginning. (...) Such views imply too much teleology, and see electronic literature purely as the unfolding of the possibilities of the apparatus. The rhetorical logic at work is literalization, i.e. taking literary works as the sum of their technical features. (Rui Torres & Sandy Baldwyn, eds. 2014. PO.EX: Essays from Portugal on Cyberliterature and Intermedia. Morgantown, WV: Center for Literary Computing: xv-xvi).
Hannah Ackermans - 28.11.2015 - 14:53
