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COLLABORATION IN E-LITERATURE: FROM “THE UNKNOWN” TO “PIKSEL ZDRÓJ”

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Pisarski M.
World Literature Studies
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2016
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vol. 8
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issue 3
78 – 89
EN
Collaboration in e-literature, thanks to the interdisciplinary, intersemiotic and computational nature of the field, is a subject close to a vast majority of artists and critics. However, the particularities of the collaborative process are discussed mostly in interviews, panels and private conversations. The number of critical analyses and overviews is still relatively small. The aim of this article is to expand on the existing findings (especially Scott Rettberg’s reflection on the collaborative aspects of The Unknown and Nick Montfort’s arguments on collaborative programming), propose several new categories that may prove useful and introduce a Polish example of a collaborative creative work (the hypertext Piksel Zdrój authored by 8 writers, 2015). Of importance are also questions of identity of e-literature within a vast horizon of collaborative activities in game development, as well as the notion of authorship and authorial integrity, which literary collaboration in the digital realm puts to a heavy stress test. In my reflection, e-lit collaboration is situated within two contexts, one of which has been gaining prominence in recent years. On the one hand it is traditional collaboration in literature and film, on the other, collaboration in games and software. Posing questions about the place of e-literary collaboration among creative participation in other media – as I will demonstrate – might bring insights not only about the specificity of participatory activities in the field but also about the identity of electronic literature within the general cultural land-scape.
2
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DIGITAL POSTMODERNISM: FROM HYPERTEXTS TO TWITTERATURE AND BOTS

100%
Pisarski M.
World Literature Studies
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2017
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vol. 9
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issue 3
41 – 53
EN
The article attempts to highlight a major aesthetic shift that is taking place in electronic literature: born-digital literary production written and read on computers and smartphones. A large proportion of recent e-literature is not only disseminated via social networks but its form and content is increasingly being shaped by Facebook, Twitter and their preferred communication formats (tweets, posts, statuses). The experimental phase of electronic literature when contemporary writers were establishing their identity by relating their poetics and ideologies to those of the modernist avant-gardes of the 20th century (a trend labelled by Jessica Pressman as “digital modernism”) is giving way to a more ludic approach where e-literature is seeking out a larger audience via social media and in the language of social media (a tendency I call “digital postmodernism”). In the process, the scale and scope of a single work is being further compressed and the human author is being accompanied by non-human agents (network algorithms, bots). Is literature still literature, or perhaps – in this context and point of view – should we treat it as post-literature?
3
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HUMAN, SUPER-HUMAN, ANTI-HUMAN: THE POST-HUMAN DEEP FUTURE IN EVOLUTIONARY SCIENCE FICTION

100%
Pisarski M.
World Literature Studies
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2021
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vol. 13
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issue 1
3 - 17
EN
Post-humanist visions of the future do not venture further ahead than a few hundred or a few thousand years at most. It is within this near future that most scenarios of technological singularity and the enhancement of the human into an H+, or a post-human, are projected. This paper reflects on visions of much more distant futures found in evolutionary speculative fiction and science fiction, from J.B.S. Haldane (1927) through to Adrian Tchaikovsky (2019). From the vantage point of thousands (or millions) of years, the forthcoming era of mind uploading, designer babies, and technological immortality as envisioned in the transhumanist utopias of Hans Moravec amount to short episodes in a long cycle of evolutionary progress matched by planetary catastrophes. Such a perspective offers a more general reflection on the philosophical and cultural implications of a “creative evolution”, the nature of humanity, and humans’ place among other species. The transhumanism agenda, initiated by Julian Huxley in the form of a call to arms for the “betterment of humanity” by existing, emerging, and speculative technologies, does not emerge as a retrograde reinstatement of the compromised ideals of Enlightenment, but rather as the sine qua non for human survival in the face of the heat death of the Sun, the eruption of a super-volcano, and any other existential risk. Human ingenuity, reflected in advanced biotechnology, space travel and technological enhancements turns out to be the only guarantee of life on Earth and beyond it. As such, this comparative study of literary examples of possible courses of human history proves that reflections on the far future are capable of healing current discursive divides between post-humanist and transhumanist, anthropocentric and anti-anthropocentric, and technophobic and technophile approaches to our present.
4
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WHEN NEW MEDIA TURN OLD: TOWARDS OBJECT-ORIENTED TRANSLATION OF HISTORICAL DIGITAL LITERATURE

100%
Pisarski M.
World Literature Studies
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2020
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vol. 12
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issue 1
82 – 96
EN
This article is a reflection on the possible future of translating the classics of “born digital” literature in the light of new developments in preservation, restoration and dissemination of digital cultural heritage. Open “software libraries” initiatives of the Internet Archive and a growing popularity of media labs and computer museums make it easy for contemporary audiences to read the old hypertext fiction and animated poetry in their original context. This recreated retro computing experience calls for a new perspective on translating digital classics. Pixelated constellations of rectangles on Story space maps, the minimalist palettes of Mac OS system sounds and colours – all these objects and artefacts, along with inherent meta-texts, para-texts and behaviours, can contribute to “the laws of the original” (W. Benjamin). A viable path of translation opens up which allows for experiencing the source work the way it was conceived and presented to its first audience. Additionally, the experience-driven approach can be also used in editorial and publishing projects which rely on remediation and trans-modal processes (from print to digital, from visual to aural). An exemplary project of a digital, educational edition of Adam Mickiewicz’s The Crimean Sonnets and its possible improvement by the experience-driven and object-oriented approach is analysed.
5

The Kardashian Moment: Hashtag, Selfie and the Broken Internet

100%
Pisarski M.
Social Communication. Online Journal
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2019
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issue 2(20)
53-61
EN
The article focuses on a hashtags as a tool of networked culture and networked social movements, and – at the same time – on self-expression phenomenon of a selfie. Although today hashtags, in particular, can been seen as a frequently used weapon in information wars and a tool of propaganda 2.0, seen from historical perspective, this very tool aligns itself first and foremost with emancipatory forces in the Internet history. These forces, expressed in A Declaration of the Independence of Cyberspace and in participatory ideals of Web 2.0 are now in withdrawal. As the Internet is now in a peculiar development phase, ruled by the logic of surveillance capitalism, those early ideals of free speech and exchange of ideas are now overshadowed by a “darkening of the digital dream (Shoshana Zuboff). The central argument suggests that the “Kardashian moment” on the one hand, and Occupy Wallstreet, on the other hand, constituted a point in time where new media affordances and social phenomena were aligned. At the same time, both hashtag and selfie can be viewed as a response to the betrayalof individualization processes started in the 1960s, then carried on and amplified by the early Internet, and in the end commodified by the growing Internet giants and established structures of power
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