Digital Literature Research Papers - Academia.edu (original) (raw)

The Child and the Book Conference 6 ---

- by and +1
- •
- Children's Literature, Early Childhood Education, Digital Literature
- by Paulo Gatica
- •
- Social Networks, Digital Literature, Twitter, Short story (Literature)

Caracteres es una revista académica interdisciplinar y plurilingüe orientada al análisis crí7co de la cultura, el pensamiento y la sociedad de la esfera digital. Esta publicación presta especial atención a las colaboraciones que aporten nuevas perspec7vas sobre los ámbitos de estudio que cubre, dentro del espacio de las Humanidades Digitales. Puede consultar las normas de publicación en la web.

Review of Blogging From Egypt by Tugrul Mende

- by Teresa Pepe
- •
- Digital Literature, Egypt, Arabic Language and Literature

Un « jeu d'écriture à ciel ouvert » ; l'expression est d'Arnaud Maïsetti, chercheur et écrivain ayant développé une pratique d'écriture en ligne depuis 2005, qui l'emploie dans l'un de ses billets pour évoquer l'écriture en contexte numérique. Le présent article vise à déplier cette expression intuitive, afin d'expliciter les différentes perspectives qu'elle peut recéler en regard de la création littéraire développée sur écran. Il se présente dès lors, sans prétendre à une quelconque exhaustivité, comme une petite synthèse originale des caractéristiques poético-formelles propres aux matières textuelles sur support numérique.

Anfang 2018 bei Suhrkamp veröffentlicht, versammelt Hannes Bajohrs Lyrikband Halbzeug eine Vielzahl von Gedichten unterschiedlichster, digitaler Genese: ein Hochgeschwindigkeitsrauschen aneinandergereihter Karriereratgeberfloskeln stehen neben von Spracherkennungsprogrammen missverstandenen Texten; Kafka und die Gebrüder Grimm stehen neben Versatzstücken aus Klimaschutzberichten. Alle Gedichte in Halbzeug basieren auf bestehenden, oft auch kanonischen Texten, die größtenteils autonom mithilfe digitaler Prozesse und unterschiedlicher, teils zweckentfremdeter Software transformiert worden sind. Ursprungsmaterial, Konzept, Prozess und lyrisches Endergebnis gehen somit einerseits Hand in Hand, stehen andererseits in einem ambivalenten Spannungsverhältnis zueinander und formen so erst zusammen die Botschaft der Texte. Halbzeug setzt damit unterschiedliche Tendenzen der Nachkriegs-und Gegenwartslyrik fort: so ist die konzeptuelle Nähe zu readymade-Lyrik z.B. eines Gerhard Rühm, Oskar Pastior oder den Literaturexperimenten von Oulipo schnell gezogen. Wenn Bajohr dagegen kanonische Gedichte durch die Synonymsuche von Microsoft Word verfremden lässt, so lässt sich dies durchaus als fortgesetzte, diesmal vom Wortfindungsprozess des Künstlers losgelöste Hermetisierung poetischer Sprache verstehen. Die Gedichte stellen so nicht nur die Frage nach der Funktion des Digitalen im Alltag und im Kunstbetrieb und präsentieren neue Möglichkeiten der Texttransformation, die das poetische Arsenal des

- by Hannes Bajohr
- •
- Digital Literature, Electronic Literature, Conceptual writing

A relação da literatura com a tecnologia data de seu aparecimento ou, ao menos, de sua compreensão enquanto artefato da escrita. Afinal, a concepção de literatura participa de um logocentrismo ou de um etnocentrismo que, como diria Jacques Derrida (2011, p. 3), "em todos os tempos e lugares, comandou o conceito da escritura", permanecendo uma concepção estreitamente relacionada com a civilização europeia. A tecnologia da escrita, que a define ao menos etimologicamente, bem como seus suportes materiais e seus processos de produção, circulação e recepção sempre influenciaram ou impactaram, de algum modo, a literatura. O advento das novas tecnologias (TIC, NTIC, DTIC) implica, da mesma maneira, transformações no campo ou no sistema da literatura.

- by Tiago Hermano Breunig
- •
- Literature, Digital Literature, Literatura, Literatura Digital

The communication practice of tweeting has fostered numerous literary experiments, like Teju Cole's series Small Fates and Jennifer Egan's novel Black Box. In late 2012, these experiments culminated in an event that focused on such literary experiments: the first Twitter Fiction Festival. In this paper, we explore how people who participated in the festival use tweeting to embrace and enact writing and reading literature as a social experience. The study includes a participant-centered inquiry based on two one-hour Twitter discussions with 14 participants from the Twitter Fiction Festival as well as analyses of their online literary works and secondary sources related to the festival. We show that festival participants self-identify based on their creative and social practices as artists rather than with traditional labels such as writer or author and are therefore drawn to social media environments.

- by Joachim Vlieghe and +1
- •
- Creative Writing, Digital Literacy, Literature, Digital Media
- by Isa Mestre
- •
- New Media, Digital Humanities, Narrative, Digital Literature

Contemporary society has become an information society and hence it makes sense to interpret various changes in the cultural sphere. Connections between computer technology and literature are one aspect of the complicated global set of problems in tackling the adaptation of texts with the media. The article focuses on what happens with literary texts in cyberspace, how they adapt to that environment, and it examines the forms of “cyberliterature”. The most comprehensive definition of cyberliterature derives from the concept of digital literature, i.e. literature created on the computer and presented by means of the computer. Trying to narrow the concept of cyberliterature, it can be characterised by certain computer-specific qualities: multi-linearity, different parts of hypertexts connected by links, uniting the written text with multimedia, interactivity etc. The second part of the article analyses a specific sub-category, one of the most intriguing border areas of cyberliterature...

- by Piret Viires
- •
- Technology, Digital Literature, Postmodernism, Cyberspace
- by Piret Viires
- •
- Digital Humanities, Digital Literature, Postmodernism, Facebook
- by Róbert Gáfrik
- •
- Digital Literature, Hypertext theory

We, the women of the RSM, in an effort to form a really loose confederation of passionately uncommitted rational anarchists, accept no rules and no limits. We have no boundaries. We do not explain ourselves. We do not accept American... more

- by Anne Kustritz
- •
- Gender Studies, Queer Studies, Sex and Gender, Feminist Theory

El artículo analiza la literatura española contemporánea más actual e innovadora prestando especial atención a los recursos estéticos del diario personal empleados por autores asociados a los paradigmas del mundo impreso y al del mundo digital. Se establecen, por tanto, los paralelismos e influencias entre ambas corrientes en la producción literaria de finales del siglo XX y principios del XXI en España.

- by Daniel Escandell-Montiel
- •
- Spanish Literature, Digital Humanities, Blogs, Digital Media

Sagen, hören, lesen Über digitale Literatur »0x0a« sagen »0x0a« ist das Steuerzeichen, das in einer Textdatei für einen Zeilenumbruch sorgt. Wie man früher auf der Schreibmaschine den Arm für den Wagenrücklauf umlegte, so setzt »0x0a« den Cursor an den Anfang der nächsten Zeile. Das Besondere an Steuerzeichen: Man kann sie -anders als grafische Zeichen, also alle sichtbaren Zahlen, Buchstaben und Symbole -auf der obersten Textebene, im Wordprozessor oder auf Papier, nicht sehen: »0x0a« ist ein Befehl, den man nur an seiner Wirkung bemerkt -es ist Anweisung und Aktion, nicht Buchstabe und Symbol. Und weil es Handlung ist, kann es weder ausgesprochen werden noch auf Papier existieren. 1 Steuerzeichen gibt es nur im Digitalen.

- by Hannes Bajohr
- •
- Digital Literature, Electronic Literature

Il contributo descrive la particolare tipologia di narrazione collettiva realizzata nei Giochi Di Ruolo (GDR) testuali, i cui partecipanti si ritrovano online per raccontare e vivere una storia: all'interno di una chat ogni utente interpreta un personaggio, ne recita il parlato e ne descrive le azioni in maniera coerente con la caratterizzazione scelta; l'agire è dunque prettamente verbale e si realizza all'interno di un mondo creato dalla fantasia e dalle parole dei giocatori stessi: tutto è racconto, e l'intrecciarsi dei messaggi inviati dagli utenti produce, in tempo reale, una storia scritta a più mani.
La narrazione nei GDR testuali non segue alcun canovaccio, e non sono ammessi riferimenti alla realtà esterna al racconto; pertanto, i testi non solo sono prodotto di una autorialità plurima ma si espandono attraverso l'accumulo di materiale narrativo composto in assoluta autonomia, senza il supporto di alcuna riflessione metanarrativa condivisa e di una successiva revisione. Spinti da tali considerazioni ci siamo posti il seguente interrogativo: come può una storia coerente scaturire dalla semplice giustapposizione di messaggi sincroni che si susseguono senza alcuna guida? La questione è stata affrontata attraverso una disamina delle strategie impiegate dagli utenti per conciliare l’improvvisazione nella scrittura con la necessità di un risultato coeso e coerente.
Nello specifico si è esaminato il ruolo cardine del ciberspazio, capace di trasformare la scrittura collettiva in una condivisione di esperienze e quindi in grado di offrire alla narrazione una significativa componente di spontaneità. Tra gli elementi che contribuiscono alla creazione di un mondo virtuale persistente ci siamo focalizzati da un lato sulle schede luogo e personaggio, dall'altro sulla serialità della narrazione; abbiamo inoltre approfondito l’uso della anafora quale ponte tra l’immaginario dei singoli autori.
Successivamente la ricerca ha messo a fuoco le norme, rigide e rigorose, che regolano l’ordine di invio dei messaggi da parte degli autori. I meccanismi di turnazione sono di capitale importanza in quanto loro è il compito di garantire che non vi siano prevaricazioni tra gli autori e che la consequenzialità logico-narrativa dei contributi sia rispettata, così da ridurre al minimo contraddizioni e incomprensioni.
Infine l’analisi si è rivolta alla descrizione degli indicatori metanarrativi, particolare tipologia di segnale discorsivo che realizza, sotto il livello letterale del testo, un costante confronto tra i giocatori; peculiarità di questi usi è la loro capacità di mascherarsi da passaggi descrittivi così da soddisfare la necessità da parte degli autori di veicolare e ricevere dei feedback, al tempo stesso non incrinando il senso di immersione nel mondo virtuale del quale i giocatori sono parte.

This communication aims to discuss how we can nowadays think about digital storytelling. While a source of new possibilities for literary creation and reception, digital literature invites us to a deeper reflection on the evolution of literature itself, consolidating itself with other arts, it offers us a new literary product that urges to be considered and analysed.
In this sense, we propose to analyse, from a copyright point of view, the process of creation of the interactive digital book Amar em Círculo.
In a world where more than ninety percent of the books/works produced belong to children's literature, an area that where other forms of textuality were already being explored on paper, our choice focuses on interactive fiction for adults which initiates now in digital form, a path marked by the integration of audiovisual, sound and interactive features so far scarcely used.
Our communication aims to explore how can the writer/author of the narrative put the tools of new technologies at the service of "literary writing" through processes involving intermediality.
The proposal goes to show how the recreation of the narrative of Amar em Círculo was made, by me, originally conceived in paper and then transformed to the digital world, creating an interactive digital storytelling using text, video, audio, photography and animation. Optimized to run on mobile devices, including the iPad, this narrative will serve us as a bridge between theory and the artistic practice in that it will allow a deeper understanding of how the author can think of recreating some aesthetic elements of the narrative before the potential of the digital universe. The work will serve us even to think about a new line of creation, marked by the use of new media and new digital resources in the service of literature and, more specifically, to the service of the narrative and its exploration in new media and new environments.
How to analyse these new books? What theoretical and critical tools do we have at our disposal? Will the digital literary creation, and its assumptions of interaction with the reader, have characteristics so different from those we are now used to? Will its only difference be the support, the shape? Is it just a question of materiality? What is this literature that ceases to be experienced only with the eyes, the act of reading, and goes on to be experienced with virtually every sense?
It is in order to address some of these issues that we propose to discuss in what Berenguer (1998) configured as "a new way of narrating", thinking of its implications and contributing to the extension of scientific research associated with literature studies, the interart studies and the digital humanities.

- by Isa Mestre
- •
- Digital Humanities, Digital Media, Digital Literature, Storytelling
- by Mohammad Rokib
- •
- Literature, Digital Literature, Electronic Literature, Sastra

Work in progress -Cerisy -23 juillet 2004

- by Evelyne Broudoux
- •
- Sociology, Digital Literature

Un estudio sobre la poesía actual en formato digital con colaboraciones de investigadores de múltiples universidades españolas e internacionales con el objetivo de cubrir el análisis de estas formas literarias, su breve pero intensa historia, la perspectiva de género, el salto mediático y también sus posibilidades docentes. Cuenta, asimismo, con la participación de jóvenes creadores que han usado la red para crear y difundir su obra.

- by Daniel Escandell-Montiel
- •
- Poetry, Digital Literature, Electronic Poetry, Poesía

This short piece argues that instapoetry, a form which has been much debated in recent years, has offered a space for minority voices to be heard, and that, as a form, it was born precisely out of the lack of publishing opportunities for marginalized writers.
Article available here: https://www.voicemag.uk/blog/6232/instapoetry-an-innovative-form-born-out-of-necessity

- by Laura Gallon
- •
- Poetry, Digital Literature, Electronic Literature, Instagram

This chapter seeks to examine a phenomenon that has gone largely unexplored: the rise of digitally-born Australian literary journals since the 1990s. My intent is to demonstrate how such journals in the digital sphere also exert material influence within the literary field in very specific ways. In particular, I will argue that the journals I have chosen to examine display the five key traits—also common among other digitally-born Australian literary journals—which clarify the way that such publications shape the broader literary field: 1) they focus on specific, high-cultural literary forms; 2) they circulate among established literary networks of producer-consumers; 3) they increase the social capital of their editors; 4) they either problematise or reinforce the boundaries of national literary discourse; and 5) they either seek to include writers who are typically excluded by more mainstream literary discourse, or else reflect the hierarchical distinctions and exclusionary practices of material literary networks.

- by Emmett Stinson
- •
- Print Culture, Publishing, Digital Humanities, Electronic publishing
- by Jörgen Schäfer
- •
- Digital Literature, Electronic Literature, Netzliteratur

Esta tesis se busca explorar el desarrollo de la literatura digital escrita en Colombia o por colombianos desde 1990 hasta el 2012. La literatura digital es un fenómeno literario reciente cuyo desarrollo se relaciona estrechamente con la evolución de los computadores personales iniciada en 1970. Se tratan de obras literarias (poéticas, narrativas o dramáticas) que se caracterizan por tener contenidos multimediáticos (texto, imagen, sonido y vídeo), requerir distintos niveles de interactividad, recurrir a enlaces asociativos (links) entre fragmentos de información para su desenvolvimiento.; estas características hacen que estos textos deban ser escritos o construidos desde una plataforma digital (como por ejemplo un computador) para ser leídos desde otra plataforma igualmente digital.
Debido a que la literatura digital es un campo -tanto de producción como de investigación- muy reciente, cuenta con poco estudio, concentrado, en su mayoría, en países con un alto nivel de progreso tecnológico. A partir de esta falencia crítica, este proyecto hará un análisis crítico de algunas obras de literatura digital producidas en este periodo, relacionándolas con su momento histórico-teórico y otras obras (tanto de la misma disciplina como de otras disciplinas adyacentes) que nos permitan ver cómo se han manifestado las mismas en el país, cuáles son sus particularidades y qué aportes pueden realizar a la teoría de la literatura digital. Así, el objetivo general de este trabajo es constituirse como un primer paso en la realización de una historiografía de dicho tipo de literatura en Colombia.
En el primer capítulo de este proyecto se presenta como un marco general -a la vez teórico e histórico- que nos permitirá realizar una primera definición de los términos teóricos fundamentales que guiarán nuestros análisis. Por otra parte, en el segundo capítulo –con el que iniciaremos los análisis literarios- haremos un análisis de las obras El vuelo de los hermanos Wright (1995) de Juan Bernardo Gutiérrez y Gabriela infinita (1998) de Jaime Alejandro Rodríguez poniendo especial atención a su forma de relacionarse con el hipertexto. En el tercer capítulo se ofrece una lectura de Condiciones extremas (2002) de J. B. Gutiérrez, El alebrije de Carmen Gil (2002), Golpe de gracia (2004) de Jaime A. Rodríguez y Caminando por Bogotá del equipo dirigido por Carlos Torres, revisando sus concepciones de interactividad y el tipo de lectores que estas concepciones sugieren. Finalmente, el cuarto capítulo está dedicado a revisar la plataforma colectiva de relatos digitales Narratopedia de Jaime Alejandro Rodríguez y las problemáticas en la creación y consumo de este tipo de literatura que se vislumbran en el panorama actual Colombiano con la incursión del “Programa Distrital De Estímulos” del Instituto para las artes, IDARTES en el terreno de la literatura digital.

- by Alejandro Corredor Parra
- •
- Digital Humanities, Literature, Colombia, Digital Literature

Instagramdichters hebben sinds een paar jaar wereldwijd een immense invloed op de poëzieboekenmarkt. Ook heeft het nieuwe genre een impact op de vorm en inhoud, het publiek en de status van poëzie. Uit een nationale enquête blijkt dat het tegenkomen van poëzie op social media de poëzie-ervaring is die Nederlandse volwassenen het frequentst ervaren. Uit een Instapoëzie-enquête blijkt daarnaast dat Instapoëziegebruikers vooral hoogopgeleide, jonge, vrouwelijke veellezers zijn en dat Instagram een snelle, toegankelijke en gratis manier is om nieuwe poëzie te leren kennen, die bovendien makkelijk in te passen is in het dagelijks leven. Op het gebied van leesbevordering heeft Instapoëzie potentie, omdat de gedich-ten veel nieuwe, jonge, literaire lezers voortbrengen, zowel digitaal als op papier. Over de concrete uitwerking van Instapoëzie als 'instappoëzie' op de Nederlandse en Vlaamse poëzieboekenmarkt is helaas weinig bekend. Wel heeft Amerikaans en Brits onderzoek aangetoond dat Instadichters hebben gezorgd voor een gloed-nieuwe groep jongvolwassen poëziebundelkopers.

- by Kila van der Starre
- •
- Poetry, Digital Literature, Social Media, Digital Poetry

Primeros resultados de una exploración sobre la recepción de obras digitales por parte de niños y adolescentes, publicados en las actas del Simposio internacional "Literatura en pantalla: textos, lectores y prácticas docentes", organizado... more

- by Mireia Manresa Potrony
- •
- Digital Literacy, Digital Literature

The paper presents and critically surveys the main methods involved in electronic literature research. After a general outline, the three most widespread and analysed methods in the discourse of electronic literature are discussed: hypertext theory (intended to look at hypertext as a realisation of postmodern/poststructuralist literary theory), cybertext theory (bridging electronic literature with computer games and some types of online narrative) and technotext theory (stressing the media-specific analysis and contextualisation of materiality). Later on, the paper focuses on three newly-formed studies that perceive electronic literature as part of new media art and stress the underlying computer processes as worthy of analysis: software studies, critical code studies, platform studies. These studies can offer one of the grounds for understanding electronic literature through a postmedial perspective. This introduction to the theoretical concepts of electronic literature research only provides an initial summary, so that the discourse of electronic literature in our cultural region can continue to gradually develop and also follow the trends of research into postdigital literary practice.

- by Zuzana Husarova
- •
- Digital Literature, Electronic Literature, Hypertext theory, Platform Studies

Sonderband Text+Kritik "Digitale Literatur II", hg. Hannes Bajohr und Annette Gilbert

- by Hannes Bajohr
- •
- Artificial Intelligence, Digital Literacy, Digital Media, Digital Literature
- by stephanie hoover
- •
- Digital Literature

What makes electronic literature interesting for researchers? Beyond its artistic and literary value, we can point out its heuristic value. Indeed electronic literature not only permits previous media to be reexamined (paper for instance), but it also allows several well-established notions to be questioned, such as narrative in narratology, text in linguistics and semiotics, figure in rhetorics, materiality in aesthetics, grasp in anthropology, memory in archivistics or literariness in literary studies.
Exploiting the heuristic value of electronic literature has two consequences:
- an evolution of some notions in certain scientific disciplines, and maybe of the disciplines themselves;
- a revealing effect regarding both digital technology and interactive and multimedia writing.

- by Serge Bouchardon
- •
- Technology, Digital Humanities, Literature, Digital Literature
- by Reham Hosny
- •
- Digital Literature, Electronic Literature, Digital Criticism

This work explores the interactive book app for children as a form of literary expression that requires from the young reader the capacity to orchestrate various forms of literacy to promote their ability to read critically multimodal, digital and interactive texts. Serafini's model for the analysis of picturebooks in three levels, perceptive, structural, and ideological (SERAFINI, 2010; 2015), is proposed as a didactic tool to promote these multiliteracies at school through the reading of picturebook apps.

- by Aline Frederico
- •
- Digital Literacy, Children's Literature, Digital Literature, New literacy studies

INTRODUCCION. "El espacio de todos los tiempos, fuera del tiempo. Papeles, pantallas y redes". Pampa Arán y Diego Vigna Parte 1.... more

- by Veronica BERNABEI and +1
- •
- Genetic Criticism (Genetic Criticism), Digital Literature, Literatura Digital, Crítica Genética

The advent of the Internet has fundamentally redefined the way we interact with texts. Digitality has made both reader and author more visible by creating a platform upon which fan writing, resituated as a form of marginalia, and digital paratexts, particularly authors’ webpages and social media accounts, are transformed into a discourse between the readers and the author through the text. The prolific textual nature of this discourse precludes any meaningful study of the text’s position in the digital age in isolation from a consideration of these intertextual interactions. This is nowhere more apparent than in the discourse surrounding J.K. Rowling's Harry Potter series, where Rowling's Twitter and new writings on Pottermore attempt to reassert her Authority over the text, while fans' digital engagements, particularly in the form of fan theories, both accept and reject Rowling's Authority.

- by Jessica A Carter
- •
- Digital Literature, Intertextuality, Harry Potter, Marginalia

Los jóvenes actuales, nativos digitales, se conectan a la Red cada día y allí encuentran amigos para leer, escribir y comentar lo que les interesa. Aquí se documentan esas prácticas de lectura y escritura de fanfic e historias realistas;... more

Los jóvenes actuales, nativos digitales, se conectan a la Red cada día y allí encuentran amigos para leer, escribir y comentar lo que les interesa. Aquí se documentan esas prácticas de lectura y
escritura de fanfic e historias realistas; además, se plantea su aprovechamiento en el aula.

- by Daniel Cassany
- •
- Creative Writing, Literacy, Literature, Digital Literature

La investigación desarrollada en el proyecto “Literatura 2.0: para una cartografía de la narrativa digital” tiene como objetivo explorar las posibilidades y los problemas derivados de la introducción de los medios digitales en la literatura.
¿Qué ocurre con la narrativa cuando se vuelve digital? ¿Cuáles son las implicaciones de una nueva materialidad? ¿Es posible admitir que la narrativa se expresa bajo otra forma, motivada por el medio dónde es producida? ¿Seguirá el lector siendo el mismo lector? ¿O estará ahora potenciado por las nuevas herramientas de escritura que le ofrece el
medio digital? ¿Se podrá imaginar, desde el medio digital, un nuevo concepto de lector? ¿Estará la introducción de lo digital ofreciendo la oportunidad de observar un conjunto de reconfiguraciones derivadas de la materialidad y del potencial tecnológico del nuevo medio? Para abordar algunas de estas cuestiones nos centraremos en la narrativa digital interactiva mediante el análisis de Pry, una obra literaria digital,
planteando la hipótesis de que la materialidad de los nuevos soportes está hoy reconfigurando una cierta literatura emergente, provocando un reajuste en el rol de autor.
Suponiendo que el sistema literario toma ahora la tecnología no sólo como soporte sino, además, como contenido de la propia creación, podríamos estar asistiendo al florecimiento de una literatura 2.0 que ofrece la posibilidad de pensar un conjunto de cambios que resultan de su “nueva forma”.

- by Isa Mestre
- •
- New Media, Digital Media, Digital Literature, Narrative Theory

ABSTRACT
Digital poems are digitally generated poems that can only be experienced within the digital environment. While there is an avalanche of critical articles on poetry, the focus has been on the poems of the paper culture and there is a dearth of scholarly attention on digital poetry. This study therefore attempts an analysis of selected ten video poems with a view to interrogating the influence of the digital environment on meaning creation.
This study is carried out with theoretical tools of Multimodality. Multimodal approach to the study of digital literature derives from the works of critical thinkers including Gunther Kress and Van Leeuwen. The relevance of Multimodality to the analysis of digital poetry is hinged on the fact that linguistic element alone has become insufficient vehicle for meaning-making where other modes are involved. Hence, Multimodal interaction and its implication on meaning creation are essential considerations for the analysis of digital poetry. The ten selected poems are authored by South African poet, Wayne Visser. The choice of Visser’s poems is informed by the fact that he is a prolific poet of both the paper and the digital culture.
The selected video poems are analysed to underscore how pictures, music and recital can enhance as well as downplay the meaning of the poem. Pictures can serve as visual metaphors for the ideas in the text; pictures can advance authorial intent beyond the domain of the text; the background music can connect the reader emotionally and psychologically to the message of the poem; from the recital, the reader/listener/viewer can learn the pronunciation of the local colours in the poem; the aesthetics can sometimes shadow the figurativeness of the idea of the poem; some ideas projected in poems are concepts that are best coded in words and cannot be pictorially represented as blending them with images can impede the reader/viewer/listener’s imagination; pictures can sometimes supply a contrasting meaning; pictorial representations sometimes streamline the range of available interpretations; aesthetics if not properly harnessed can serve as a distraction; the voice of the poet can also constitute a disturbance if the reciting-pace is faster or slower than the reader/viewer/listener can cope with.
Aesthetics, as it relates to video poetry, can enhance as well as downplay the meaning of the text. Hence, it is expedient that the video poet be conscious of the two sides of the relationship between aesthetics and meaning creation in order to ensure that meaning is not sacrificed on the altar of technology. It is therefore recommended that scholars, researchers and instructors begin to throw their weight around video/digital poetry by making literature students take a compulsory course in “Literature and the New Media” and extending such trainings to intending video poets to empower them in the art of blending various semiotic resources in a way that authorial intent is facilitated. It is also recommended that more researches be conducted on digital poetry/video poetry and the findings of such researches be made available to the consumers and producers of this type of literature.
KEYWORDS: Digital poetry, Video poetry, Multimodality, Pictures, Recital.
WORD COUNT: 500

- by OLUYEMISI A ADEDOKUN-OLADEJO
- •
- Digital Literature

Digital tools, devices and programming have contributed to the
mutating family of Literature. This is shown in publications like the
Electronic Literature Collection (http://collection.eliterature.org/).
Literature is being added to with websites coded in HTML, Flash and
Java, or as apps and augmented reality technologies. The significance
of the digital is also noteworthy just in terms of subject matter. The
representation of a self in a published work of printed literature today
often takes into account such factors as mobility through digital
media, online and virtual environments and digital footprints, the primacy
of data, personal technology and digital literacy. For example,
the impact of ’social media’ on an individual is part of what it is to be
human in many cultures today

- by James G Barrett
- •
- English Literature, Digital Literature

Über zwei Paradigmen digitaler generativer Literatur und die Notwendigkeit einer Kritik ästhetischer KI I. Das prometheische Unbehagen, oder: Kreativität als letzte differentia Das Verhältnis von Kunst und Künstlicher Intelligenz lässt sich treffend anhand einer Beobachtung illustrieren, die der deutsche Philosoph Günther Anders 1942 im kalifornischen Exil aufzeichnete. In einem Tagebucheintrag, der später das erste Kapitel seines Buches Die Antiquiertheit des Menschen werden sollte, schilderte Anders den Besuch einer Technikausstellung, bei dem sich ein Freund recht merkwürdig verhielt-als schämte er sich, ein Mensch und keine Maschine zu sein. Anders glaubte, damit "einem völlig neuen Pudendum auf die Spur gekommen [zu sein]; einem Scham-Motiv, das es in der Vergangenheit nicht gegeben hat. Ich nenne es vorerst für mich ‚Prometheische Scham'"-"die Scham vor der beschämend hohen Qualität der selbstgemachten Dinge". 1 Angesichts der Perfektion, Zuverlässigkeit und Wiederholbarkeit moderner Maschinen und massenproduzierter Objekte empfinde der Mensch sich selbst als mangelhaft: Unfertig, unzuverlässig, gefangen in zerbrechlichen Körpern und konfrontiert mit dem Makel, geboren statt produziert worden zu sein; diese Verlegenheit des Schöpfers angesichts seiner Schöpfung sei nur das erste Anzeichen für die drohende Obsoleszenz des Menschen. Man mag Anders' Analyse in ihrer Apokalyptik für sachlich fragwürdig halten, kann aber dennoch ihren heuristischen Nutzen anerkennen: Engel und Tiere-traditionell die kosmologisch Überlegenen oder die ontologisch Unterlegenen-bilden schon lange nicht mehr die Basis menschlicher Selbstvergleiche. In einer säkularen Gesellschaft, in der die Herrschaft über die Natur total geworden ist, werden dagegen Maschinen und das serialisierte Produkt zu den neuen Folien kulturell artikulierter Selbstverständnisse. Dennoch ist "Scham" vielleicht nicht das richtige Wort für das, was vielmehr als drückende Sorge, Nervosität und Unruhe an die Oberfläche drängt. Es mag sinnvoller sein, von einem prometheischen Unbehagen zu sprechen: dem Unbehagen, es könnte sich mit dem Statusverlust als Macher auch das hierarchische Verhältnis von Mensch und Maschine umkehren. Prometheisches Unbehagen scheint sich in jeder Epoche neu zu artikulieren. 2 Die aktuelle Diskussion über Künstliche Intelligenz und Kreativität ist lediglich die jüngste Iteration dieser Angst, und auch hier feiert der Mensch

- by Hannes Bajohr
- •
- Artificial Intelligence, Creativity, Digital Literature, Electronic Literature
- by Cristina Correro and +1
- •
- Digital Literacy, Digital Literature

The study maps and describes the production of electronic literature in the Slovak cultural environment. Even though it focuses on the era after communism, theoretical texts on the connections between cybernetics and arts, with discussions on the possibilities for literature and literary theory, dating from the 1950s onwards, are also presented. The study divides Slovak electronic literature according to the way the authors treated the digital text: whether they appropriated the existing one (Legel, Labuda, Barok, Gruska, Bartoš, Ivan, Husárová-Panák, Šicko), combined the appropriated text with their authorial text (Juhász, Kitta) or wrote their own text (Šulej, Murin, Juhász, Husárová – Panák).

- by Zuzana Husarova
- •
- Digital Literature, Electronic Literature, Generative Art, Hypertext Fiction

The Jester, the paid fool in society, is a position that one has used throughout history to be able to act independently, to openly speak of one's difference of opinion in society. In Bozo On the Boom Boom Badass Beat, Young-Hae Chang Heavy Industries utilise themes that are often prevalent in their work, a mixture of disillusionment and cynicism to embark upon the playful figures of the Trickster and the Fool. In this newly commissioned work, YHCHI adopts the persona of two figures, 1.) the Fool and 2.) the Jester hidden behind the fool-- the Trickster.

- by Melissa Lee
- •
- Digital Humanities, Digital Literature, English, Digital Culture