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1

Nowe oblicza adaptacji tekstu w mediach cyfrowych. O powieści hipertekstowej popołudnie, pewna historia Michaela Joyce’a

100%
Pisarski M.
Slavia Occidentalis
|
2011
|
issue 68
219-225
PL
Working on a novel and its adaptation, in the case of hypertext, i.e., a novel that branches and develops on demand, that is written and read on the computer screen, requires and itself creates new roles. The translation begins to embrace new domains. The first translation of a hypertext novel in the Slavic countries popołudnie, pewna historia (“afternoon: a story”) by Michael Joyce presents translation as the transfer not only of language elements of a given medium but also of a reader’s computer code, operating system and interface. A role of a translator, an editor and a publisher changes radically, whereas a reader faces new challenges in which authors of adaptations must play an assisting role. A literary message in new media appears as a multilayer arrangement of diversified, parallel utterances of a much bigger than traditionally, range of connotations. The project discussed by the author of the article, heralds the contemporary and the future literary productions in the epoch called “post-PC” (PC – personal computer). In such circumstances, the authors of translations must look far beyond the horizon of the text in order to return to that text and show it properly.
2
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Autor i dzieło w kulturze cyfrowej (na przykładzie twórczości Nicka Montforta

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Pisarski M.
Przegląd Kulturoznawczy
|
2014
|
issue 2(20)
PL
Cultural and methodological framework set by digital humanities implies a substantial shift in authorial paradigms. A sole humanist thinker is replaced by a humanist-programmer, always ready for collaboration with others and whose research is focused not on close-reading and interpretation, but on computational and generative distance-reading. One of the ways to familiarise with the changed paradigm is to look for similar, authorial figures in art, specifically in digital literature. The humanist-programmer, someone with higher than usual set of competencies which spanned across computing and literature, has been directly and indirectly present in the work of Nick Montfort – one of the most prolific artists in the field of electronic literature. By looking at the occurrences of the writer-programmer figure in Montfort’s literary happenings and text-machines and by examining the enhanced model of literary communication, the article aims at encouraging new ways of looking at (digitally) infused literature and culture, establishing Nick Montfort as one of their pioneers and proponents. Part of the article, while discussing a poetry generator Sea and Spar Between, concentrates on several categories related to the figure of humanist-programmer: critical code studies, distributive authorship, culture of collaboration, remix culture.
3
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Poza teorie końca: semiopoetyka jako klucz do cyfrowego świata. Recenzja Cyfrowej semiopoetyki Ewy Szczęsnej

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Pisarski M.
ER(R)GO: Teoria – Literatura – Kultura
|
2020
|
issue 41
217-225
EN
The present text discusses the theoretical foundations and methodological significance of Ewa Szczęsna’s 2018 Polish-language monograph Digital Semiopoetics in light of the rise of a wide variety of digital discourses that gave birth to a radical transformation of our semiosphere. Successfully translating the literary-theoretical reflection upon signification processes onto the digital plane, Szczęsna offers her reader an invaluable theoretical toolbox, applicable to literature, art, and other forms of semiotic interaction that were “born digital.” Proposing new solutions, however, the Author remains in a constant dialog with the mentors responsible for our legacy of semiotic reflection, thereby building a bridge between the “traditional” and “digital” forms of creativity and modes of interaction.
PL
W niniejszym tekście omówiono teoretyczne podstawy i metodologiczną innowacyjność polskojęzycznej monografii Ewy Szczęsnej Cyfrowa semiopoetyka z 2018 roku w świetle narodzin i rozwoju różnorodnych dyskursów cyfrowych, które dały początek radykalnej transformacji całej naszej semiosfery. Z powodzeniem przekładając teoretyczno-literacką refleksję nad procesami odpowiedzialnymi za tworzenie znaczeń na płaszczyznę cyfrową, Szczęsna oferuje czytelnikowi nieoceniony zestaw teoretycznych narzędzi, mający zastosowanie w literaturze, sztuce i innych formach interakcji semiotycznej, które narodziły się już jako “cyfrowe”. Proponując nowe rozwiązania, Autorka pozostaje jednak w stałym dialogu z mentorami-twórcami naszego dziedzictwa refleksji semiotycznej, budując tym samym pomost między “tradycyjnymi” a “cyfrowymi” formami twórczości i sposobami interakcji.
4
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Poetyka w działaniu. Czas i kod w poezji Johna Cayleya i poetów Rozdzielczości Chleba

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Pisarski M.
Forum Poetyki
|
2016
|
issue 4-5
6-19
EN
The purpose of the article is to broaden readers’ understanding of how code is used in digital literary forms. Although digital poetics in the Polish context seems relatively established, the code aspect of works, particularly when we consider works in which a computer program becomes an active, causative subject beyond the full control of author and reader, requires some additional clarification. Using examples from Polish electronic literature, the article recapitulates the typology of code formulated by John Cayley, a pioneer in digital poetry; next, it examines a series of works by Cayley and Howe in which programmed “readers” – supplied with a source text and linguistic resources indexed by Google – are sent on a special mission in search of poetic originality. Three main theses are formulated: programming is a new kind of poetics in action; code in temporal or internet texts attains the status of an autonomous actor, situated in between text, author, and reader, and maintaining contact with other programs on the web; hypertext as a primary paradigm of digital textuality turns out to be a transitional form, from the point of view of the practices of Cayley and Polish cybernetic poets, much closer to the print paradigm, that was originally acknowledged.
PL
Celem artykułu jest poszerzenie rozumienia kodu w cyfrowych formach literackich. Choć poetyka cyfrowa na polskim gruncie zdaje się ugruntowywać, to kodowy aspekt dzieła, zwłaszcza gdy przedmiotem refleksji są utwory, w których program komputerowy zamienia się w czynny podmiot sprawczy, poza pełną kontrolą autora i czytelnika, domaga się dodatkowych rozróżnień. Opierając się na przykładach polskiej literatury elektronicznej, zrekapitulowana zostaje typologia kodu według Johna Cayleya – pioniera poezji cyfrowej, a następnie przybliżona zostaje seria prac Cayleya/Howe’a, w ramach których zaprogramowane „czytniki” na podstawie tekstu źródłowego i zasobów językowych indeksowanych przez Google, wysyłane są na misję specjalną: poszukiwanie oryginalności poetyckiej. W pracy sformułowano trzy tezy: programowanie jest nowym rodzajem poetyki w działaniu; kod w tekście temporalnym i sieciowym osiąga statut autonomicznego aktora, sytuującego się pomiędzy tekstem, autorem i czytelnikiem, i będącego w kontakcie z innymi programami w sieci; hipertekst jako pierwotny paradygmat tekstualności cyfrowej okazuje się formą przejściową, z punktu widzenia praktyki Cayleya i polskich poetów cybernetycznych, bliższą paradygmatowi druku.
5
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Kropka nad „e”. Porządkowanie literatury cyfrowej

100%
Pisarski M.
Porównania
|
2021
|
vol. 28
|
issue 1
569-577
EN
Poszerzanie pola literackiego. Studia o literackości w internecie by Elżbieta Winiecka is an important, concise summary of almost 20 years of research and artistic practice within the emerging field of electronic literature in Poland and worldwide. Its most important contribution lies in bridging the gap between traditional literary studies and new paradigms introduced by digital culture. The book’s conclusion is optimistic and goes against the notion of the end of literary studies in the era of post-literature. Within 10 chapters the author demonstrates how new ways of reading, writing and participating in literary life on the Web open up fascinating challenges for literary studies. In the review, an educational aspect of the book as well as an effort to expand the category of electronic literature by including “traditional” forms informed by the effects of digital communication are also brought forward.
PL
Książka Elżbiety Winieckiej Poszerzanie pola literackiego. Studia o literackości w internecie stanowi ważne podsumowanie teorii i praktyki ostatnich dwóch dekad rozwoju literatury polskiej w przestrzeni cyfrowej oraz przekonującą próbę wprowadzenia tych doświadczeń w pole dyskusji nad literaturą w ogóle. To zadanie autorka wykonuje wzorowo, niosąc literaturoznawcom dobrą wiadomość: cyfrowy świat przynosi im bowiem nowe zadania i nowe obszary badań. W recenzji zwraca się także uwagę na edukacyjny charakter publikacji oraz ciekawą propozycję poszerzenia samego pola literatury elektronicznej o zjawiska rzadziej omawiane (aktywizm, literackie platformy społecznościowe) oraz o formy niecyfrowe, ale odnoszące się do społeczno-kulturowych efektów cyfrowej kultury i komunikacji.
6
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Preserving Electronic Literature: Between (Re)construction and Emulation. Space for Documentation and Preservation of Kate Pullinger’s Digital Fiction

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Przybyszewska A., Pisarski M.
Przegląd Kulturoznawczy
|
2024
|
issue 3 (61) z/Ziemia w badaniach kultury
518-535
EN
The article is focused on the problems of preserving electronic literature. Authors discuss challenges they faced while documenting and preserving Kate Pullinger’s digital fiction works for The NEXT: Museum, Library, and Preservation Space for electronic literature (the leading space for archiving, documenting, and presenting electronic literature of the past) and for the artist’s online repository. They characterize the existing methodologies of preserving digital literary works and their pros and cons and report how they were used while working with Pullinger’s digital literary heritage. The argument is illustrated with an analysis of examples of reconstructions undertaken within the research project that made the creation of both Pullinger’s repositories possible, as well as detailed case studies and visualizations of the newly-created repository.
7
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Wróżenie z tekstonów. Przekład dystrybutywny na przykładzie generatora Sea and Spar Between (2010) Stephanie Strickland i Nicka Montforta

63%
Górska-Olesińska M., Pisarski M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2021
|
issue 43 – Przekład eksperymentalny
55-72
EN
The article presents challenges of translating poetry generators in multi-authorial, creative collaboration and within the context of understanding text as process. Stephanie Strickland and Nick Montfort’s Sea and Spar Between is in many respects a translational challenge that in some languages might seem an impossible task. Polish, our target language, imposes some serious constraints: one-syllable words become disyllabic or multisyllabic; kennings have different morphological, lexical, and grammatical arrangement, and most of the generative rhetoric of the original (like anaphors) must take into consideration the grammatical gender of Polish words. As a result, the JavaScript code, instructions that accompany the JavaScript file, and arrays of words that this poetry generator draws from, needed to be expanded and rewritten. Moreover, in several crucial points of this rule-driven work, natural language forced us to modify the code. In translating Sea and Spar Between, the process of negotiation between the source language and the target language involves more factors than in the case of traditional translation. Strickland and Montfort read Dickinson and Melville and parse their readings into a computer program (in itself a translation, or port, from Python to JavaScript) which combines them in almost countless ways. This collision of cultures, languages, and tools becomes amplified if one wants to transpose it into a different language. This transposition involves the original authors of Sea and Spar Between, the four original translators of Dickinson and Melville into Polish, and us, turning into a multilayered translational challenge, something we propose to call a distributed translation. While testing the language and the potential of poetry translation in the digital age, the experiment – we hope – has produced some fascinating and thought-provoking poetry.
8
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Guessing from Textones. Distributed Translation as Exemplified by Sea and Spar Between (2010) by Stephanie Strickland and Nick Montfort

63%
Górska-Olesińska M., Pisarski M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2023
|
issue Special Issue 2/2023 – Experimental Translation
44-60
EN
This article discusses the challenges of translating poetry generators in multi-authorial, creative collaborations and within the context of understanding text as a process. Stephanie Strickland’s and Nick Montfort’s Sea and Spar Between is in many respects a translational challenge that in some languages might be considered an impossible task. Polish, our target language, imposes some serious constraints: one-syllable words become disyllabic or multisyllabic, kennings have different morphological, lexical, and grammatical arrangements, and most of the generative rhetoric of the original (like anaphors) must take into consideration the grammatical gender of Polish words. As a result, the JavaScript code, instructions that accompany the JavaScript file, and arrays of words that this poetry generator draws from, needed to be expanded and rewritten. Moreover, in several crucial points of this rule-driven work, natural language forced us to modify the code. In translating Sea and Spar Between, the process of negotiation between the source language and the target language involves more factors than in the case of traditional translation. Strickland and Montfort read Dickinson and Melville and parse their readings into a computer program (in itself a translation, or port, from Python to JavaScript), which combines them in almost countless ways. Such a collision of cultures, languages, and tools becomes amplified when transposed into a different language. This transposition involves the original authors of Sea and Spar Between, the four original translators of Dickinson and Melville into Polish, and ourselves, turning into a multilayered translational challenge, something we propose to call a distributed translation. While testing the language and the potential of poetry translation in the digital age, the experiment – we hope – has produced some fascinating and thought-provoking poetry.
9

Przekład hipertekstowy. Teoria i praktyka

51%
Szczęsna E., Pawlicka U., Pisarski M.
Rocznik Komparatystyczny
|
2014
|
vol. 5
p. 373-394
EN
The aim of our study is to present a new type of translation which takes place on the crossroads of language (translation proper), medium (adaptation) and a combination of software and hardware (port/porting). Looking closely at several translations of American hypertext fiction and poetry into Polish (afternoon, a story by Michael Joyce, Blueberries by Susan Gibb) we analyze textual procedures that must be taken into account while translating digital literature, at the same time scrutinizing various challenges (on the level of text semantics) that must be faced by the authors of this new kind of translation. Our goal is to demonstrate in what ways the shift from one medium and semiotic system (print) to another (screen) changes the ontology of the literary work and the scope of translator’s assignments. It is especially important in the situation when verbal elements are no longer sole conveyers of meaning, but are instead accompanied by multimedia elements and the underlying layer of computer code. Four forms of digital translation are presented: digitalization, digital adaptation, structural translations and hypertextual translation. Two possible instances of the hypertext translation are discussed; one is a language to language translation over the programming layer, the other being an adaptation of classic work into a hypertext structure. We analyze the stages and specifics of digital translation. Translation that takes into account the visual, the operational (interface) and the programming layer of the work becomes a process on events rather than a process on textual elements. Hypertextual translation – as we conclude – is a multidimensional transformation of text that happens on the semiotic, technological and the cultural levels at the same time.
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