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1. Digital Modernism: Making it New in New Media

   Digital Modernism examines how and why some of the most innovative works of online electronic literature adapt and allude to literary modernism. Digital literature has been celebrated as a postmodern form that grows out of contemporary technologies, subjectivities, and aesthetics, but this book provides an alternative genealogy. Exemplary cases show electronic literature looking back to modernism for inspiration and source material (in content, form, and ideology) through which to critique contemporary culture. In so doing, this literature renews and reframes, rather than rejects, a literary tradition that it also reconfigures to center around media. To support her argument, Pressman pairs modernist works by Pound, Joyce, and Bob Brown, with major digital works like William Poundstone's "Project for the Tachistoscope: [Bottomless Pit]" (2005), Young-hae Chang Heavy Industries's Dakota, and Judd Morrissey's The Jew's Daughter. With each pairing, she demonstrates how the modernist movement of the 1920s and 1930s laid the groundwork for the innovations of electronic literature.

   Scott Rettberg - 22.08.2014 - 00:15

2. Review: Reading Writing Interfaces: From the Digital to the Bookbound

   Review of Emerson's Reading Writing Interfaces, including video doucmentation of referenced works.

   Scott Rettberg - 23.08.2014 - 09:26

3. Book presentation: Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to See and Shape Ourselves

   This book explores self-representations in three modes: written, visual and quantitative, and looks
   at how these modes of self-representation are used in a digital age. The histories of written and
   visual self-representations are well known through lineages of autobiographies, diaries, memoirs
   and self-portraits, and have clear descendents in blogs and social media sites like Instagram,
   Facebook, Twitter and Tumblr. Quantitative self-representations also have a long history but have
   been less studied as an aesthetic and rhetorical genre. With digital media, the personal tracking of weather, travels, habits and moods is commodified through activity trackers, wearable devices
   and apps for lifelogging and productivity.
   The book, which will be published as a peer-reviewed, open access and print-on-demand book in
   the Palgrave Pivot imprint in October 2014, includes chapters on selfies, on the use of technological and cultural filters, on real-time diaries and on surveillance. For the purpose of this
   workshop, the presentation will focus on how we can understand what José van Dijck calls
   

   Alvaro Seica - 29.08.2014 - 10:00

4. Thinking Paratextually: Making Meaning from Paradigm Shifts in the Age of Digital Culture

   Based on the dual perspective of looking back and moving forward, this talk will explore the
   underlying tensions in recent work on paratextual theory and on elements that may – or not – fall
   under an evolving definition of what constitutes digital paratext.
   

   Alvaro Seica - 29.08.2014 - 10:04

5. Reading between the lines: How paratexts shape readers’ interaction with a transmedia narrative

   My discussion presents a paratext-based model for analysis of transmedia projects that I offer in
   

   Alvaro Seica - 29.08.2014 - 10:09

6. In the Absence of the Publisher's Peritext

   To Genette, the basic “nature of the paratext” is functional (7). In his theoretical account, he
   presents a number of paratextual units (title, dedications, epigraphs etc.) and proofs its functionality through the analysis of respective examples. At the same time, he alerts that
   paratexts may be unproductive and notes: “from the fact that the paratext always fulfills a
   function, it does not necessarily follow that the paratext always fulfills its function well” (409).
   That said, paratexts may be dysfunctional in that a paratext does not meet the function Genette
   originally envisioned. A paratext is also dysfunctional if it is absent where it’d be expected: based
   and bound to the materiality of the book-as-object, Genette has developed a map to locate the
   types of paratexts he designates. As per Genette, a preface supposedly precedes a work and an
   epigraph shouldn’t intervene a body’s text. Likewise, the publisher’s peritext spans around and
   within the body of a work, while the epitext is located outside of a work’s material body. A paratext’s location thus defines its function.
   

   Alvaro Seica - 29.08.2014 - 10:23

7. Taroko Gorge: A Theory of Networked Paratext

   My talk will examine the paratextual play inspired by Nick Montfort's generative poem "Taroko Gorge," which has prompted more than two dozen adaptations and remixes of its source code.
   The poem's code is as much an object of fascination for its community of readers as the poem it outputs. What is the "paratext" in this setting? Is it the commented code directed at human readers? The two dozen adaptations? The "Taroko Gorge" meme authored by Talan Memmott? Or might it be the poetic output itself? One could think of the outputted poem as a dazzling book cover-like illustration of main story, the 131-line source code.
   

   Alvaro Seica - 29.08.2014 - 10:27

8. Paratext in Wittgenstein's Writings

   The Wittgenstein Archives at the University of Bergen (WAB) has since 1990 engaged in building marked-up and platform independent digital corpora of Wittgenstein primary and secondary sources. One important focus is the enrichment of these resources with metadata. I will present WAB’s metadata work incl. its organization through an ontology. I will also present a tool that permits “faceted browsing” of the metadata. I will try to relate WAB’s work on metadata to issues of “paratext”.

   (Source: Author's Abstract)

   Alvaro Seica - 29.08.2014 - 11:04

9. Reading an Ontology as Paratext

   In his approach, Gérard Genette studies the elements of texts called paratext that are not the core of text but still influential for understanding or interpreting literature. He identified two different groups of paratext and divided them into peritext and epitext (Genette 1997). Peritext is strongly related to the author’s intention and includes elements like the title, preface, table of contents, etc. Epitext is separated from the text and consists of interviews, commentaries, letters by the author about the text, debates, etc. Both, they can guide and influence the interpretation of texts. Genette also states that paratext is very changeable, temporary fashion and can appear and disappear. In this contribution, I want arise the question whe
   ther special kinds of representing the reader’s understanding of texts can be also seen as paratext. So, is it possible to expand the borders of Genette’s definition to integrate the reader’s mind?

   (Source: Author's Abstract)

   Alvaro Seica - 29.08.2014 - 11:08

10. Digital Paratext: Steps Towards New Technologies of the Intellect

    With reference to Gérard Genette’s notion of paratext, I will discuss some characteristics of digital-only content in general and paratextual features in particular.
    I will present paratextual theory as a productive analytical tool that may be used to study emerging literacies as witnessed by the paratextual structure and dynamics of hybrid and digital-only content.
    To offer a general conceptual framework enabling one to analyse paratextual practices and devices in digital culture, I will
    1) interpret e-paratext as “technologies of the intellect” with indebtedness to the work of Jack Goody. Goody ‘s intentionally imprecise but nonetheless productive notion of “technologies of the intellect” may help us explore the power of cultural creativity and inventiveness on the breeding grounding of inherently transient digital-only media;
    2) derive the notion of e-paratext from the more general notion of deixis to explain the inescapability of paratextual practices.

    (Source: Author's Abstract)

    Alvaro Seica - 29.08.2014 - 11:10

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