Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 8

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  ELECTRONIC LITERATURE
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

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

100%
Pisarski M.
World Literature Studies
|
2016
|
vol. 8
|
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
Content available remote

„DIGILITERÁTI“ VERZUS „PAPIEROLITERÁTI“ ALEBO TRANSDISCIPLINÁRNE DOBRODRUŽSTVO

100%
Suwara B.
World Literature Studies
|
2016
|
vol. 8
|
issue 3
90 – 103
EN
The basis of this paper is the author’s project “Digital Natives: Digital Immigrants: Digital Other”, which consists of finding artists with different attitudes towards – and competence in – digital technology and getting them to work together. The first part describes the various challenges in organizing such encounters and introduces the technique of productive provocation. In the second part, the paper looks at the various interdisciplinary aspects of generational change in terms of digital competence, including glocality, transhumanism and computational elegance.
3
Content available remote

DIGITAL POSTMODERNISM: FROM HYPERTEXTS TO TWITTERATURE AND BOTS

100%
Pisarski M.
World Literature Studies
|
2017
|
vol. 9
|
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?
4
Content available remote

SLOVENSKÁ ELEKTRONICKÁ LITERATÚRA

100%
Husárová Z.
World Literature Studies
|
2016
|
vol. 8
|
issue 3
57 – 77
EN
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).
5
Content available remote

SLOVO JAKO PŘEDMĚT, POHYB, ENERGIE. UMĚLECKÁ VÝPOVĚĎ V TRANSMEDIÁLNÍM KONTEXTU

100%
Kostincová J.
World Literature Studies
|
2017
|
vol. 9
|
issue 3
54 – 65
EN
The article discusses possible interpretational approaches towards literary texts that cross the borders of the printed page and enter either public or virtual space in the forms of gallery installations, public performances and various genres of electronic literature. It argues that a very ambitious and highly interesting experiment is being pursued in the dynamic area of in-between – a transmedia dimension which generates artefacts that tackle recipients’ visual, aural as well as haptic experience. The author discusses several methodological approaches which can be used to study this kind of artistic utterance and attempts to present and interpret several works that represent transmedia artefacts.
6

SYNTETICKÁ POÉZIA V KONTEXTE SLOVENSKÉHO NEKONVENČNÉHO PÍSANIA A POSTLITERÁRNEJ SITUÁCIE

100%
Šrank J., Hostová I., Novotný R.
Slovenská literatúra (Slovak Literature)
|
2022
|
vol. 69
|
issue 5
474 – 498
EN
The article focuses on poetological and axiological analysis of the Slovak collection of poems Liza Gennart: Výsledky vzniku ([Outcomes of origin], 2020). The collection is part of the project created by the poet and theorist of electronic literature, Zuzana Husárová (b. 1983) and the sound artist and programmer Ľubomír Panák (b. 1979) who trained a neural network to generate its poems. Texts generated by neural networks are usually referred to as synthetic. In the article, we therefore propose to use the term synthetic poetry to denote poetry generated by neural networks. Introductory parts of the article address the global contexts in which such a work of literature is nested (changes in the economy, position of literature in the current world, problems faced by the humanities today) and technological issues pertaining to natural language processing. What follows is a literary-historical contextualisation in which we outline the history of generative writing in Slovak literature, the issue of authorial teams co-creating poetry, and virtual authorial signatures. In concluding section, the article provides a textual analysis and proposes to conceptualise this instance of synthetic poetry in terms of (1) poetics of defect, (2) poetics of incoherence, and (3) poetics of reduction.
7
Content available remote

CROWDSOURCING AND LITERATURE: A REPORT FROM THE PROJECT “WIERSZE ZA STO DOLARÓW”

100%
Marecki P.
World Literature Studies
|
2017
|
vol. 9
|
issue 3
79 – 86
EN
The text is set within the poetics of a technical report, used to communicate the final results of projects in the digital media field. Its subject is the poetry collection of my authorship, Wiersze za sto dolarów (One-Hundred-Dollar Poems), written in Polish in 2017 using the crowdsourcing tool Amazon Mechanical Turk (AMT). The project is discussed in the context of other literary works created with AMT, among others On the Subcontract by Nick Thurston. The paper discusses the features of the literary work created by the Mechanical Turks, the phenomenon of Decentring Digital Media and questions of authorship, art project appraisal, and creation as paid work.
8
Content available remote

WHEN NEW MEDIA TURN OLD: TOWARDS OBJECT-ORIENTED TRANSLATION OF HISTORICAL DIGITAL LITERATURE

75%
Pisarski M.
World Literature Studies
|
2020
|
vol. 12
|
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.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.