New media shaped textuality, narrative, codeworks and digital poetry are deployed in electronic literature as a practice situated in Internet and post-Internet arts. E-literature embedded in online ...venues has outgrown a hyperfiction phase and become conceptual. Instead of hyperlink-based storytelling, it has begun dealing with itself, becoming e-literature after the end of e-literature-as-we-know it, aligning with contemporary art, science, philosophy, economy and politics. Entering the “after the end” phase is of essential importance for a particular field. In its conceptual phase, e-literature addresses its fundamental principles, investigates the limitations of digital media, Internet, language, narrative, text, sign and code. Its projects are laboratories for playing with different hypotheses. However, the reflection on the technology that generates it and the experience stimulated by its projects significantly contribute to an understanding of e-literature. This paper is focused on the second experience as defined according to Benjamin’s concept of the second technology, a playful experience enabled through technology. Based on play, the second experience promotes exploration and blurring boundaries, which in the case of digital textuality means dealing with a vanishing text which is only conditionally legible and whose existence is limited to a particular time.
V sodobni kulturi se srečujemo z vrsto zamenjav paradigem, ki usmerjajo pozornost h kulturnim vsebinam s poudarjenimi vizualnimi, kinetičnimi, taktilnimi in performativnimi učinki. Te izrazito ...demonstrira umetniški performans, ki kot avdiovizualen, taktilen, proprioceptičen in motoričen investira uprizorjena telesa v gibanju, je časoven in procesualen. Čeprav je performans v jedru performativnega obrata od kulture teksta (ki predstavlja literarno paradigmo) h kulturi performansa (ki vpliva tudi na neumetniška področja), sodi danes tudi tekst v performans, in sicer v tisti modalnosti, ki vključuje tako napisane/izgovorjene črke in besede kot druge besedilne sestavine: praznine, »belo pisavo«, prečrtane črke in besede, odsotnost, izginjanje in bralčevo telesnost vključujoče aranžmaje. V tem eseju obravnavamo projekta Bit.Fall in CyberSpaceLand, ki funkcionirata kot performansa hitrega pojavljanja besed in njihovega izginjanja ter kot uprizoritvi vizualnih besedilnih aranžmajev. Prav tako pa se v teh projektih vzpostavlja igra verbalnih in neverbalnih označevalcev, ki sodi k razširjenem konceptu teksta, razumljenega kot besedilna storitev; ta igra spodbuja ne-samo-branje kot novo modalnost kompleksnega izkušanja teksta.
In today's world we encounter an expanded concept of textuality based on words-images-(virtual) bodies that are arranged with respect to a spatial and temporal grammar. The new media shaped text as a ...textual service follows the performative turn by deploying verbal and non-verbal components, blanks, empty space, and vanishing letters. Such a text challenges not-just-reading as a new mode of complex textual experience.
Hypertext fiction, the most talked about practice of writing in new media in the 1990s, has given way to a new generation of digital, text-based installations with literary functions. They are viewed ...as conceptual projects that explore the very specificity of the word and letter entering new media conditions. In addition to post-hypertextual, mostly conceptual electronic literature, this article aims to explore the crucial features of new media shaped textuality and new ways of storytelling that it enables. A formidable challenge for contemporary social linguistic and narratological studies are recent social media that deploy textual means shaped by new media (formed as a hybrid field of verbal and visual signifiers, with smileys and emojis), which form the basis for new storytelling in Twitter novels, mobile apps, and blogging. The achievements of the twentieth-century artistic and literary avant-garde enter recent social media and provoke a blurring of textual and verbal boundaries. The cards in both fields are shuffled anew. This article provides two close readings of recent texts (Bigellow's How to Rob a Bank and the author's Drone poem) that call into question both the narrative-as-we-know-it and the poetic function in terms of the audience's literary interaction.
In his article "E-Literature, New Media Art, and E-Literary Criticism" Janez Strehovec explores the commonalities between electronic literature and new media art. Rather than deploying the ...traditional conceptual apparatus of e-literary criticism directed first and foremost to the new media elements of e-literature, Strehovec takes into account approaches from current theories in the social sciences and humanities. In doing so, he draws upon examples of new media art as a practice in which the novel's social paradigms change the way of art-making and challenge the very function of art. Close-readings of some new media art projects including Bookchin's Mass Ornament, EDT's Transborder Immigrant Tool, and Jodi's ZYX demonstrate that new media art is questioning the very ontological status of the field in terms of abandoning aesthetic and artistic functions in favor of their functions of use. In contrast, e-literature's interactions with society challenge the intrinsic possibilities of this field, especially in terms of blurring the boundaries between forms and revolutionizing e-literature's means of expression.
Contemporary art based on new media is situated at the intersection of art-as-we-know-it, smart technologies, digital and algorithmic culture, networked economy, (post)politics, as well as bio and ...techno sciences. Contemporary art enters into intense relations with these fields, including
interactions, adoption of methodological devices and approaches, changes of the areas of activity, hybridization and amalgamation. This text explores those features of contemporary life and culture which are affected by digital art and the recombination, appropriation, remediation, reusing,
repurposing, and transfer of artistic procedures/tools from one context or field to another.
The new media, technologies, and cultural movements influence the writing, reading, and organization of texts and their dissemination. This raises a series of problems concerning cultural ...innovations, the perception and reading of digital material, and the conflict between abstract and globalized information on the one hand and the "down-to-earth" stories that stimulate rich experience on the other. The author bases his views on the information/story pair on the critique of information presented in Walter Benjamin's essay "The Storyteller," and continues by touching on Benjamin's distinction between the first and second technology. He expands this distinction to also include a difference between the first and second experience. In this, the second experience reveals itself as playful and embodied, and suitable for experiencing and perceiving electronic literature as an area that is extremely challenging for theory because it raises the series of issues mentioned above (cultural innovations, the use of new media and technologies in literature, and the story/information problem). This article presents a critical view on e-literature, which has proven to be successful and innovative in the application of the expanded poetic language that one can already encounter in modern poetry and the concrete and visual poetry of the Neo-avantgarde. This is a language that, in addition to verbal signifiers, also uses crossed-out letters and white space, positions textual units according to the spatial and temporal syntax, and uses conditionally readable and elusive text that software allows to be entered and erased, and to appear and disappear quickly.
This paper aims to explore the notion of algorithmic culture in relation to new media and electronic literature. Such a culture considers human as being immersed in smart technology, which with its ...code and algorithms defines individual's behaviour and decision-making, modes of
socializing and participation, experiencing and perception. The following lines unveil the paradigm shift that involves semiotic crossings between human and machine languages. In order to do so, it addresses some crucial particularities of the emerging field of electronic literature
This paper aims to explore the electronic animated literature and its attitude towards media art, the Internet culture, and the film. E-literary text shaped by the (new) media belongs to algorithmic ...culture; however, the mention of film is not such a great departure from e-literature. Electronic textual practice is by no means placed in an area alien to film and the cinematic mode of organization of textual units, which over a decade ago the author of this paper had already named word-image-movement, i.e. the verbal and visual signifier-in-motion. What is crucial here is that the moment when text enters a moving mode it begins to behave like a film, i.e. a film of verbal contents, presenting a challenge to theory, which in turn abandons the field of literary specificity (e. g. literariness as we know it) and begins to direct itself towards effects concerning the cinematic organization of textual contents. Along with the film paradigm also the key features of the Internet culture and the medium of video are deployed to clarify the specificity of novel generation of electronic literature.
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