Article in a print journal

One seldom-discussed cybertextual typology is offered by Espen Aarseth in chapter 6 of Cybertext, "The Cyborg Author: Problems of Automated Poetics." As someone who writes using computers—and who writes entire works whose course is influenced by this use of computers—this neglected topic in cybertextual studies seems to demand my attention not only as theorist and a critic but as an author. Am I crediting my computer properly when I attribute the authorship of works that my computer helped to create? Should I give myself and my computer a "cyborg name" (like a "DJ name") for just this purpose? When I write or use a new program, or replace my computer with a faster one, am I a new cyborg and thus a different author? Should my computer have a say in the publishing and promotion of works that we authored together? And should other important and inspirational mechanisms—my CD player, for instance, and my bookshelves—get cut in on the action as well?

The phrase "cyborg author" may not have a long history, but it was used as early as 1994, in a paper by David Wall. He conceptualized the World Wide Web as a cyborg author. Wall discussed the Web more as a publishing system (or "author of community") than as an author in the sense that the term is usually used. While the concept of the cyborg author seems difficult to discuss in any formal sense, there are clearly reasons to be interested in the authorship of texts by humans and computers working together. The two difficulties that immediately present themselves regarding the cyborg author concept are the nature of the cyborg (and, more broadly, the new sorts of relationships humans and computers might have with one other as works are authored) and the nature of authorship. I will look at these briefly and also give a short account of my own experience writing 2002: A Palindrome Story in 2002 Words with William Gillespie and with the assistance of a suite of computer programs. Then, I will turn to more critically consider a recent set of poems, Static Void: Fifty-Nine Sonnets, and a Fragment, which was created by two human authors using an open source computer program they devised. I will close by trying to offer, not a new typology for human-computer co-authorship, but a model for this co-authorial process, one which is more sensitive to the actual practice of electronic literary composition and is particularly informed by the work of poets using procedures. The idea of a computer co-author, and the formal nature of the computer, certainly calls for a formal idea of co-authorship. While such a description of a co-authorial process cannot capture all the nuances of the process, it can help to point out features of this process that are of particular interest and can help us understand the role of the different participants more fully.

(Source: Author's introduction)

This article presents an experiment in locative literature. Using the textopia system for sharing of literary texts through spatial annotation and locative exploration with mobile devices, a commissioned work was created for a poetry festival. The project aimed to explore how professional, renowned poets could contribute a deepened understanding of the locative medium. The texts produced show two important traits. Firstly, a particular use of deictic relationships, in which words like “you” and “here” take on a particular importance, indicating that these words work like entry points for fiction and markers of make-believe. Secondly, a preoccupation with relations of absence and presence, both temporal and spatial, producing poetic recreations of a location's memory and spatial connections to the rest of the world.

The author argues that design of media technologies, media genres and media texts should be an important part of media studies. Design methods in media studies compared to methods in sciences, especially computer science, can yield important results if researchers state their normative position clearly and apply rigorous evaluations of their results. Liestøl’s synthetic–analytic method is analysed as an example of a media design method.

"The Death of the Author" is a 1968 essay by the French literary critic and theorist Roland Barthes. Barthes's essay argues against traditional literary criticism's practice of incorporating the intentions and biographical context of an author in an interpretation of a text, and instead argues that writing and creator are unrelated.

The essay's first English-language publication was in the American journal Aspen, no. 5-6 in 1967; the French debut was in the magazine Manteia, no. 5 (1968). The essay later appeared in an anthology of Barthes's essays, Image-Music-Text (1977), a book that also included his "From Work To Text".

(Source: Wikipedia entry on The Death of the Author)

A response to his opponents' discussion of his PhD dissertation in the same issue of Edda.

A detailed review and discussion of Hans Kristian Rustad's PhD dissertation written by his opponents.

Un texte littéraire électronique est écrit en code et ne peut exister sous forme imprimée. C’est une forme spécifique qui existe depuis la création dans les années 1970 des jeux d’aventures textuels (Willie Crowther et Don Woods, Adventure). Elle s’est développée de par l’exploitation de liens hypertextuels (Shelley Jackson, Patchwork Girl), d’éléments hypermédias, et s’oriente à présent vers la sophistication croissante des moyens mis en œuvre pour que le lecteur participe à la création de l’œuvre (Stuart Moulthrop, Pax). Le rapport entre jeux et textes reste très fort, au point que certains arguent que les jeux d’ordinateur actuels sont des œuvres littéraires électroniques. La forme est hantée par la fragilité de ses supports, et son économie semble reposer sur la gratuité.