Excerpts from abstracts submitted to ICDMT and short bio notes provided by the participants.
Panel I – “Nothing comes of nothing”
Sound and electronic literature: “Under language” and “narrative archaeology”
This presentation describes the process of remixing (recombining, reconceptualizing) sound artifacts and pioneering works of electronic literature no longer available- (…) The techne proposed here promotes new opportunities and challenges for moving forward with our conceptions and practices regarding sound based electronic literature.
John Barber teaches in The Creative Media & Digital Culture program (CMDC) at Washington State University Vancouver, home of the Bachelor of Arts in Digital Technology and Culture (DTC). The CMDC program integrates critical thinking, creativity, and problem solving with course work in arts, humanities, and digital technology to offer a broad-based, interdisciplinary degree that prepares students for a culturally-diverse, technologically-complex 21st century.
For a New Mnemosyne: Art, Experience, and Technology
This paper will outline the key elements of an ongoing research project, whose main focus is to explore the application of new technology to the study of key works of modernism, whilst simultaneously arguing that modernism can itself offer fresh perspectives on contemporary digital art. I am interested in the way modernism presents the artwork as both an object to be experienced and as a structured theory of knowledge. This tension can be seen most obviously in such canonical works as Ezra Pound’s Cantos (1917-1969) where his aesthetic of the ‘luminous fragment’ is set against the poem’s larger, Dantescan, vision of history. Concomitantly, I wish to argue that the resources of digital technology offer a significant new set of tools for approaching modernism itself, allowing us to explore the boundary between the work of scholarship and work of art.
Corin Depper lectures in Film Studies at Kingston University, London. His recent research, completed as part of the interdisciplinary Memory Network, focused on the relationship between metaphor and memory, exploring works ranging from Aby Warburg’s Mnemosyne Atlas to Chris Marker’s Immemory. This research has developed into his current research project which aims to explore how new technology permits new ways of understanding canonical works of modernism.
Writing Without Type: Explorations in Developing a Digital Writing Practice
As new ways of sharing stories emerge, how does this impact on our writing processes, the ways in which they are informed by previous practices, and the development of new possibilities? Technologies shape stories (Zipes, 2012, p. 21), yet as digital texts take on ever more varied forms – multimedia, sensor-driven, embedded in objects and located in landscapes – contemporary writing practices remain linked to the production of the printed book (Bolter, 1991, p. 5). This paper considers opportunities and challenges in shifting from using only chirographic and typographic tools in writing practice to utilising methods from the oral tradition and other practices.
Claire Dean is a writer and researcher. She is currently a PhD candidate in the interdisciplinary HighWire CDT at Lancaster University, England, where she’s researching digital storymaking. Her short stories have been widely published in print and digitally, and are included in The Best British Short Stories 2014 & 2011. Claire has an MA in creative writing and previously trained as an actor at East 15. A collection of her short stories, the Museum of Shadows and Reflections, is due out in December 2017.
Reading Practices, (Para)Textuality and ‚the Good Old Book‘ on LovelyBooks and Readme.cc
In [Bob] Stein’s opinion, the solitary reader and her or his ‘intimacy’ with a text in the medium of the book will soon remain a thing of the past. Within academia there has been little critical examination of Stein’s arguments on social reading and the changing reading and text/media practices associated with it. For example, one could ask if reading has not always been social and collective. Is the notion of ‘social reading‘ in recent debates on reading and the internet just a label for the transforming but in fact ages-old activity with regard to the digital age? Social reading platforms and online reading communities such as lovelybooks and readme.cc – which are currently two of the most relevant and widespread platforms for reading communities in German and European discourse – can be regarded as a suitable object of investigation in connection with these challenging questions. My paper will take a closer look at these online reading platforms by bringing together platform studies, literary reception study and aesthetics, history of reading as well as digital media practice approaches.
Raphaela Knipp, Dr. des., is a postdoctoral fellow at the DFG research training programme “Locating Media” at the University of Siegen. She holds a masters degree in literary, cultural and media studies and a PhD in German literary studies. Her research interests include literature and media studies, literary reception study, online and face-to-face reading groups, reading practices in the digital age, literary topography, literary tourism. Her doctoral thesis has been dealing with the practice of literary tourism and will be published in 2017 by the Winter-Verlag, Heidelberg. She currently works on a postdoc project on collective reading and text practices with regard to digital media and online reading communities. Last publication: (ed. together with Anja Dreschke, Ilham Huynh, David Sittler), Reenactments. Medienpraktiken zwischen Wiederholung und kreativer Aneignung, Bielefeld: transcript 2016.
Literature Beyond the Text: Vliterature, Towards a Post-textual Literature?
Moving from writing to amateur video could not have happened without the easily available technology and the web and social media that enable the author to circulate their work without needing a heavy infrastructure. In this sense, and with the underlying open attitude to the concept of the literary and modes of publication, this new ‘vliterature’ is fundamentally governed by the logic of the internet. At the same time, in addition to being inspired by filmmakers’ diaries and experimental short film, it can also be seen as a return to an older form of literature, the tradition of orality. This paper proposes to discuss the context in which this trend has emerged and the various practices it has engendered, with a focus on the modes of presence of what can be considered to be ‘literary’ practices and artefacts in such ‘writerly videos’ or vliterature. François Bon’s reflections on the place of the videos in his work and their relation to literature, set in the broader context of the evolution of his literature from Minuit novels to blogs and print-on-demand self-publishing, will provide the main thread for thinking through the reasons and implications from the author’s perspective and imagining it further as a potential future form in the life of literature.
Dr Erika Fülöp is Lecturer in French Studies at Lancaster University, where she is a member of The Authors and the World research hub. She previously held an Alexander von Humboldt Research Fellowship at the Interdisciplinary Center for Narratology at the University of Hamburg and a lectureship at New College, Oxford. Her research focuses on the intersections between literature and philosophy, especially on forms of reflexivity, and on the impact of digital technology on literature. She has published a monograph entitled Proust, the One, and the Many: Identity and Difference in À la recherche du temps perdu (Legenda, 2012) and articles and book chapters on fiction, philosophy, and the digital. She has also co-edited three collective volumes, on contemporary French narratives, on women’s writing, and on Proust and jealousy respectively. She is currently running a year-long project entitled ’Screening the Literary: Writing Quality On the Web’ at Lancaster University, which includes discussions with authors and researchers on the uses and future of the category of the ’literary’ in the digital age.
Panel II – Introspective Texts
Machine Network Reading
This paper will analyse Cayley and Howe’s project in order to discuss how reading and writing is configured by Google’s network machine. It will address Google as a primary example of a new interface industry and besides describing how it reads and writes us as readers, it will discuss whether and how we can read it. If Google (…) instrumentalizes and capitalises language as an interface industry, how can we read and write, what can we read and write and on which terms?
Søren Bro Pold is PhD and Associate Professor of digital aesthetics. He has published on digital and media aesthetics – from the 19th-century panorama to the interface in its various forms, e.g. on electronic literature, net art, software art, creative software, urban interfaces and digital culture. Currently he is leader of the research programme “Humans and Information Technology”, part of the interdisciplinary research centre Participatory Information Technology and the research project Literature Between Media. In relation to these research fields and groups, he has been active in establishing interface criticism as a research perspective, which discusses the role and the development of the interface for art, aesthetics, culture and IT.
Speed Readers and Predictive text: Encounters with New Media Through the Glitch Poetics of Caroline Bergvall and Erica Scourti
This paper performs a reading of the ‘glitch poetics’ of Caroline Bergvall and Erica Scourti pivoting between analyses of their works via two specific contemporary technologies. As well as reflecting on the artworks themselves, the paper aims to show how the various of forms of error they employ, allow for new perspectives on conditions for contemporary textuality. Glitch poetics is a framework for reading and writing, it refers to a set of tactics in which errors are captured, mimicked or induced to produce moments of “critical sensory encounter” with the technics of language. This perspective on linguistic error is influenced by the ways that glitches and malfunctions have been valorised in media arts’ “glitch art” movement – particularly the way these practices reveal the formally withdrawn aspects of ‘black-boxed’ devices and software. But the glitch is a highly subjective categorisation, and new media – by their very newness – can also be said to constitute ruptures in what was formally inaccessible. Our encounter with new media, in this sense, is often indistinguishable from the unsettling encounter we associate with glitch.
Nathan Jones is cross-disciplinary PhD researcher in English and Media at Royal Holloway University of London. His research title Glitch Poetics refers to a group of techniques for reading and writing, wherein instabilities and errors are deployed to produce distinctive “critical-sensory” encounters with contemporary language, in particular the formally subdued historical, biological and technical aspects which constitute our ability to speak and write. He is also a poet and artist, and his exploration of the glitch has included a play proposing the mesh of relations between a brain tumour, a broken vase and the 2015 UK general election, and a forthcoming collection of poems titled “On the Point of Tearing and Disintegrating Uncontrollably”. He is also co-founder of language, mind, technology publisher Torque, whose latest project Reading Machines looks at the speculative potential of speed readers.
Algorithmic Adaptations – Writing With and Against the Intelligent Machine
I will outline my understanding of how writing through digital media extends the practice of self-translation (an area which has recently attracted attention in translation studies) and writing in general. As an example of technogenesis, writing with and against the intelligent machine opens a wide spectrum of interaction where the human actor both adapts to and resists the influence of the digital media. Writing through this type of translation becomes a self-reflexive practice, in which the translation functions as a mirroring device that prompts the writer to return to the “original” and then again to the “translation.” Ultimately, the outcome is a back-and-forth process in which the binary between original and translation collapses.
Otso Huopaniemi, MA, MFA, is a performance-maker, artistic researcher, and teacher who has shown work internationally including PS122 (NYC); 3LD Art & Technology Center (NYC); Kiasma Theater (Helsinki); ZKM Center for Art and Media (Karlsuhe); Theaterdiscounter (Berlin). Currently, Otso is completing a doctor of arts degree (DA) at the University of Helsinki, Theatre Academy. His practice-based research looks into how the so-called digital revolution has altered performative writing and reading practices. In particular, Otso’s research examines and proposes methods of writing with, alongside and through algorithmic (machine) translation. Otso has received numerous grants for artistic projects and academic studies in Finland, the US, and in Germany. He has collaborated with various artists and companies in all three countries and taught writing and dramaturgy at Uniarts Helsinki on a part-time basis since 2006. Also, Otso has given workshops in live writing at the ELO2015 Conference in Bergen and at ZKM Karlsruhe. ________________________________________________________________
Modeling Literature: How Generative Literature Produces Literature Anew
In this paper, I regard generative literature as a model-object from the perspective of Mahr and Erdbeer’s application of model theory in order to give insight into the functioning of generative literature as well as further specify the new research focus of literary model theory (Erdbeer 2014). Through the modelling practice of literature generators, own preconceptions of what literature is (supposed to be), are projected. In its algorithmic writing, generative literature mimics intention-typical literature while at the same time destabilizing its very foundations. Through multiple short case study analyses, I outline (1) how generative literature self-reflexive in the sense that it is a model of literature, (2) how literary models change due to practices in generative literature and (3) how temporality is modelled in generative literature.
Hannah Ackermans completed the research master Comparative Literary Studies at Utrecht University (The Netherlands). During her MA, she studied at Bergen University (Norway) to specialize in electronic literature and wrote her MA thesis on generative literature as a modeling practice which renegotiates literary theory. She currently works as Scott Rettberg’s research assistant on the ELMCIP Knowledge Base. She is also managing editor of Junctions: Graduate Journal of the Humanities. Her main research interests include electronic literature, intermediality, media materiality, and Digital Humanities.
Panel III – Teaching the digital
Adapting Children’s Literature into Hypermedia Apps: a Constant Dialogue between Digital Media and Print Tradition
The market for children apps is growing at a fast pace and already represents a considerable share of the global supply, both in term of downloads and distribution (See figures and reports on appfigures.com). Despite the relative paucity of literature on games and edutainment, the variety of contents available is wide and includes adaptations of classic and contemporary texts, as well as original contents specifically conceived for digital environments. Our contribution aims to consider a sample of this rich production, especially focusing on a corpus of adaptations of classic and contemporary children picturebooks, selected for their large panel of literary-significant multimodal [KRESS 2010 ; LEBRUN – LACELLE – BOUTIN 2012] and hypermedia elements [BOLTER – GRUSIN 2000]. “
Eleonora Acerra is a PhD candidate from the University of Montpellier (France), where she works under the supervision of Professor Brigitte Louichon. Her main research interest is the study of the deployment of hypermedia contents in the narrative environment of the mobile devices and their receptions, considered through a selection of digital children’s books. Her research is part of the Linum projet (Literature numérique), which aims to develop digital educational contents for studying literature in primary schools.
Forging Paths with the Experience of Producing E-books for Children in Brazil
As publishers of children’s e-books – the first publishing house of exclusively digital books for children in Brazil – we are part of an editorial market consolidated for centuries and, at the same time, we participate in the production of digital contents, which puts our hybrid production in a point of union between past and future. (…) The experience we are building with this publishing house of children’s e-books in the present political, social and cultural context in Brazil unites transdisciplinary pedagogical and editorial knowledge, using them as instruments that allow the maintenance of what historically is understood as children’s literature: a space for varied languages and many authorships.
Suria Scapin and Isabela Parada
Editors and owners of “Editora Pipoca”, a Brazilian publishing company focused on children literature.
Walking into the Literary Field? – The Interaction between China’s Official and Online Literary Scenes
With most of the scholarship on Chinese Internet literature analysing the innovation brought about by the Internet as a new medium for literature publishing, in comparison with conventionally published literature, this presentation focuses on how the subsequent developments change the way Internet fiction is produced and consumed after its initial stage, once online literature has already lost its ‘innocence’. The second part focuses on the developments resulting from the interaction between the online and the official literary field, with particular attention to those works and authors that gained some recognition within the literary establishment and were included in degree programmes offered by the recently founded Internet Literature University.
Serafina Aquilino is a research student from Italy. Since her childhood, she has always had a strong passion for literature and foreign languages. Following her interest in the languages and cultures of East Asia, she studied Chinese language and literature at Sapienza Univesity of Rome, where she obtained her BA and MA in Chinese Studies, with both her undergraduate and master thesis focusing on Chinese Contemporary Literature. During her studies, she had the opportunity to spend two periods of studies in China. During her BA, she spent a first term at Beijing Foreign Studies University, thanks to a scholarship granted Sapienza University, followed by a second one year programme at Wuhan University (Hubei, China), with a scholarship awarded in the frame of LiSUM Project. It was precisely whilst doing fieldwork research for her master thesis in Wuhan that she developed a strong interest for Chinese cyberculture and digital media. This prompted her to apply for a PhD position at the School of Oriental and African Studies (SOAS), in London, with a project on Chinese Internet literature. She is now about to complete her PhD, with a thesis looking at the interaction between the official and online literary scenes in China.
Panel IV – Trans-multi-inter: the medium
WYSIWYG and WYSIWII: the Materiality of Digital Literature.
In this paper, I depart from the notion of digital literature trying to look beyond the linguistic layer of digitability as proposed by Simanovski (2010). Thus, the main goal of my discussion is to face some specific problems regarding both theoretical and instructional perceptions of digital literature: the creative process, the technological conditions and software limits in the production of a media art object, and the literary materialities digitally present. To demonstrate how these constructs and circumstances affect the production and the reception of an object perceived as literary and digital from its planning, I will propose a challenging reading of O Cosmonauta by Alckmar dos Santos and Wilton Azevedo.
Alamir Correa is an Associate Professor of the UEL – Universidade Estadual de Londrina, where he teaches Theory of Literature and Brazilian Literature. He was a visiting scholar at Universidad Complutense de Madrid, University of Virginia and University of Alberta and Dean of Research and Graduate Studies at UEL – Universidade Estadual de Londrina.
The media materiality as a “dance of agency” – Performing Literary Text with Substances
Shelley Jackson’s „Snow” does not easily conform to established literary categories or interpretative strategies – words written on snow are evanescent and fragile, vanishing as soon as the surface on which they had been inscribed melts away. The text in progress is offered to the audience only as the documentation of the artist’s own acts of inscription, made available through the accounts on Flickr and Instagram dedicated to the project. Additionally, reading the story in a traditional way on Instagram is possible only in reverse order of the photostream. In my presentation I would like to broaden the notion of a literary text taking into consideration the very materiality of this project’s affordances – especially the specificity of the inscription surface, evoked to the audience with photos regularly uploaded to Instagram (which itself can be seen as a domain of fluidity with its constantly changing visual stream). What I am particularly interested in is the specific mode of meaning distribution – in this case performed between the evaporating substance, photographic documentation and networked media.
Dr Anna Nacher – since 2006 she has been working at the Institute of Audiovisual Arts, Jagiellonian University, Kraków, Poland. She teaches courses on media theory, digital culture and e-literature. Her current interests include locative media, media art, art gaming, transmedia storytelling, visual studies, digital culture and the new materiality in the contemporary art. The author of three books in Polish: the last one, published in 2016 focuses on the digital mapping and locative media imagery. Other articles include: “Images of the City in the Making: Participatory Mapping, Dynamic Data Processing and Collective Knowledge”, Cultural Studies Review 4 (18) 2013; Mashup as paratextual practice: beyond digital objects (in the age of networked media) in N. Desrochers, D. Apollon (eds.), Examining Paratextual Theory and its Application in Digital Culture, Information Science Reference, IGI Global 2014; Stelarc and His Experiential Machinarium [in:] R. W. Kluszczyński (ed.), STELARC: Meat, Metal & Code: , Gdańsk 2014 and “Internet of things and automation of imaging: beyond representationalism”, Communication+1, vol 5, 2016. She participated in the Electronic Literature Organization Conferences in 2013 and 2015.
The Face by Dürer: Intermedial Genealogies of German Physiognomic Science from Printed Book to Digital Art Bridged through an Online Keyword Thesaurus
From a theoretical framework of cognitive semiotics, emotion history, and image science, Schiller’s scholarship focuses on the media genealogies of physiognomy, the science of facial expression, and digital biometrics. He analyzes how artists and scientists use media to interpret from the outside physiological behavior of the face the psychological phenomena inside an individual; the visual rhetoric of these methodologies; and how face images can inform display rules, social scripting, and truth claims for emotion in society. Schiller is also an internationally exhibited artist. Across the media genealogies of physiognomic science in the German-speaking countries, artists researching at the intersection of art, science, and technology have from the “form” [Greek physis] of the face “interpreted” [gnṓmōn] characteristics such as temperament and emotion. To historicize how media is the method for this grammatical view of the facial language–long called an art and today known as a science–I problematize the connections and conflictions between ‘face-reading’ in the tetradic humoural ‘theory of everything’ of the Northern Renaissance, and automatic facial expression analysis in the digital information society of the Cognitive Revolution. Using a new online Media Art Research Thesaurus, I probe the intermedial prestige of Albrecht Dürer’s The Four Apostles (1526) and its references to physiognomic ‘books on the face,’ by comparatively analyzing the semantic bridges that link the transposition of this artwork in Johann Nepomuk Strixner’s master study (1815), and combination into Julius von Bismarck’s Public Face (2008).
Devon Schiller is a Member of the Academic Staff in the Department of Image Science at Danube University, Austria, where he develops the Archive of Digital Art (ADA), and also pursues a degree in MediaArtHistories. He holds a BFA in Art History and Painting from the Kansas City Art Institute, and is an alumnus of the Conservation Program at the Studio Art Centers International, Florence, Italy.
The Using of Multimedia News in Modern Georgian Print and Online Media
The purpose of this paper is to present the results of a research that aimed to understand how the structure and distribution of news are changing in Georgian traditional media. It also intends to analyse how the rapid development of technology is changing journalistic style forms. In order to complete this study, we did a survey among journalists and several interviews with editors and media experts. These are the main questions addressed in this paper: How is multimedia journalism developing in Georgia? How does it reflect the transformation of news formats? How frequently does Georgian newspapers use the convergence newsroom? Is this only a new challenge or does it represent the end of newspapers, as a traditional media?
Dali Osepashvili is a Professor of Journalism and Mass Communication at TSU, I. Javakhishvili Tbilisi State University, Georgia. She is head of the MA program “Media and New Technology”. PhD. 2004; Courses: News Reporting and Writing; Magazine Writing; Media and Human Rights. Her research interests are: Journalism studies; New Media; Social Media; Media and Conflict; Media and Gender. She was granted the following scholarships: Marie Curie, Visiting Scholar (University of Vilnius) 2016; Erasmus+, Visiting Professor of University of Wroclaw (2016); DAAD, Visiting Scholar (LMU, Munich) 2015; Visiting Professor of University Helsinki (2015). She is a member of ECREA – European Communication and Research Association (2011); IAMCR International Association for Media and Communication Research (2013); ATINER – Athens Institute for Education and Research (2011).
Panel V – Where is narrative?
Eduardo: a Multimedia Story by a Swiss Army Knife Journalist
Swipe to Turn the “Page”: Metafiction in the Story App The Monster at The End of This Book
Some children story apps have incorporated a reflexivity typical of the metafictive picturebook but this reflexivity is altered in the digital medium by the possibility of interaction – as the reader is addressed by the story, there is in interactive texts the possibility of a response that affects the narrative. The construction of metafiction is also changed by the extended multimodality of these texts, that now incorporate movement and sound, for example, creating a different kind of immersion from that promoted by the image-writing dynamics of the print picturebook. In this paper, I will discuss the realization of metafiction through the participation of the reader in the app The Monster at the End of This Book (Stone & Smollin, 2011).
Aline Frederico is a Ph.D. candidate in Children’s Literature at Homerton College, Faculty of Education of the University of Cambridge, UK, funded by CAPES and Cambridge Trust. With a background in publishing and book design, Aline now researches story apps and children’s responses to these narratives. Other research interests are digital children’s literature, metafictional narratives, multimodality, and multiliteracies.
Medium Matters? Medium Matters Not? A Reflection on the Storytelling Mechanism across Media
We have been witnessing computer technology moving stories from page to digital platforms for years. Although we do have scholars, such as Espen Aarseth (1997), who have demonstrated the similarities of textual behaviours (not necessarily of narrative texts) based on different media, vast amount of studies tend to focus on the differences between digital storytelling and non-digital storytelling. Instead of questioning how digital media is different from non-digital media in terms of storytelling, this presentation will follow the footsteps of scholars who see the similarities rather than differences in different textualities, and will seek a perspective or position that transcends medium in the discourse of storytelling.
Yan Zheng is a PhD student from the University of Glasgow. Her research investigates the narrative strategies of story apps for children. She questions how the mechanism of storytelling works and what impact such mechanism may have on the reception and perception of the story. She is interested in different affordances of different media concerning storytelling, and also the similarities of storytelling on different platforms. Yan has an MPhil degree on children’s literature from the University of Cambridge in 2012 when she started to have great interest in stories told in picture book format. In 2014, Yan worked with a French digital publisher in developing a story app, The Great Ghost Chase. Yan also tests apps for Nosy Crow, a British independent children’s publisher. Currently she is doing her PhD research in distance in Cambridge MA in the United States.
Panel VI – Tracking and visualizing texts
Tracking a Publishing Pulse – Visualizations of the Swedish National Bibliography
This paper presents a unique ongoing visualization experiment with the national bibliography data at the National Library of Sweden. The national bibliography describes the publishing output of a country. The purpose with the project has been to make statistics on national bibliographic data more accessible by using visualization as a method. What unique data within a body of national bibliographic data could be visualized and how? Why, for whom and what problems could be solved with visualizations of the data? One goal was to develop methods for evaluating the usefulness of national bibliographic data by way of visualizations and as an effect of this visualization process thereby enhance the accessibility of national bibliographic data for the users.
Ylva Sommerland currently works as a librarian at the National Bibliography Division at the National Library of Sweden in Stockholm. She holds a PhD in Art History and Visual Studies from the University of Gothenburg (2012) and a MA degree in Library and Information Science from the University of Borås (1999).
Design of Transmedia Publishing for Scientific and Artistic Researches
How to design an open access journal that could enhance, at the same level of expectations, classical academic and scientific articles as well as digital artistic artworks? What kind of expectations should it meet in order to feel the needs of such mixed editorial production? How could it respond to the specific needs of both types of works? (…) Based on two enquiries that we realized among the Electronic Literature Organization community, we will present a first state of the art on the design of scientific & artistic publication on digital and hybrid journals. We will be focusing on examples of technical solutions (printed journals with online complements, Web platforms, online and printable PDF, enhanced ebooks), and analyse the ‘horizon of expectation’ (Jauss) built by each model and the reader-type expected.
Lucile Haute (Ph.D.) is a visual artist. She is associate researcher at EnsadLab, the research laboratory at the École Nationale Supérieure des Arts Décoratifs — Paris, and she teaches graphic design at the University of Valenciennes. Her artistic and theoretical researches approach hybrid forms of fiction (text and image, performance, video, installation), artist books and artistic editions, from print to ebooks. She also works on non-text publications for art and design research and design of scientific editions.
From Corpus to Bio-Text; Peter Carey’s Archives as Literary Networks
With this presentation I aim to explore the ways that Peter Carey’s archives contribute to our understanding of productive mechanisms of his celebrity. In doing so, I theorize the formation and the significance of Carey’s archives both as texts and objects. I argue that the archiving of Carey is energized by a collective investment by a body of cultural participants who have a stake in promoting the now ‘globalised’ author. This has ultimately resulted in relocalising the ‘corpus’ of the New York based writer back in Australia, and particularly in the State Library of Victoria in Melbourne. This archive has been regularly updated alongside Carey’s growing oeuvre. In this parallel literary space, however, Carey’s cultural agency continues to manipulate his public persona.
Keyvan Allahyari is a PhD student in English at the Australian Centre in Melbourne University. Prior to coming to Melbourne, he wrote about contemporary Australian literature in Shahid Beheshti University in Tehran, Iran and Auckland University, New Zealand. His PhD project concerns the study of Peter Carey’ s archives housed at the State Library of Victoria in Melbourne, the Fryer Library in Queensland University, Brisbane and the National Library of Australia in Canberra. He is looking at the politics of marketing Carey and how Carey’s recent fiction acknowledges and responds to the phenomenon of literary canonisation.
Getting a Bigger Picture of a Literary Text with AnnotateVis
In AnnotateVis, the text (…) is the central concept, and annotations representing the thoughts and analysis of the scholar are placed in the margin areas. To support dynamic, multifarious views on a certain text passage or a term of interest, we designed our interface in such a way that the literary scholar can apply a multitude of visual text analysis and generate distant reading visualizations that can be placed as annotations alongside the text. This combines the traditional close reading paradigm with elaborated text visualization techniques valuable for exploration purposes. In addition, other forms of digital media such as images, audio files and videos etc. can also be placed as annotations.
We intend to present the AnnotateVis tool in the panel to demonstrate how traditional methods of close reading can be incorporated in designing applications for digital text. Besides this, we will show how distant reading tools can be incorporated in a close reading environment, thus enabling scholars to easily explore the (…) text and to help users getting a bigger picture of the text. Similarly, we will discuss how such a tool supports literary research as well as teaching activities.
Muhammad Faisal Cheema,
Muhammad Faisal Cheema is a PhD candidate at the Department of Computer Science, Leipzig University (Germany), where he is pursuing his work under the supervision of Prof. Dr. Gerik Scheuermann. His main research interests focus on information retrieval and visualization of textual and hierarchical data. As being extensively involved in the digital humanities project eXChange hosted at the Leipzig University, he has been collaborating with humanities scholars from department of ancient history. His PhD topic investigates the use of visualization methods to enable a user-directed concept search environment to explore concept change in ancient corpora.
Non-Human Writers – Digital Media as Means for Equipping Non-Humans with Auctorial Powers
Environmental concerns have become a defining feature of our present historical moment: Whether global warming, the irreversible extinction of species, progressive pollution of the oceans – the urgency of ecological questions challenges our systems of representation, questions the adequacy of traditional forms of political writing and reporting, while calling for novel forms of organizing political discourse. Electronic writing might offer some interesting discursive potentials regarding the articulation of these looming ecological questions. Specifically, within this presentation, we will discuss the possibility of strengthening the communicative position of non-humans within digital media platforms. Though many models exist within the (digital) humanities, that question the sovereign position of human writers, the praxis of electronic writing still seems to remain a largely anthropocentric phenomenon. In order to provide some discursive counterbalance, we examine the possibilities of including non-human actors such as animals, plants, or even larger ecological systems within processes of electronic writing and digital signification systems.
Michael Heidt is a left handed individual interested in combining writing practices from the realms of digital technology and literary expression. His academic and artistic focus is located within the no man’s land between philosophy, media art, and computer-science. Past works explored issues such as identity construction, political activism, and the relationship between utopian promise and technological progress. At the moment, he is situated at Chemnitz University of Technology in Germany. As part of the interdisciplinary research training group crossWorlds, he has been collaborating with scholars from the fields of rhetoric, engineering, literary science, and media communication.