art and technology

We Descend: Archives Pertaining to Egderus Scriptor first appeared in electronic form in 1997, published by Eastgate Systems on a floppy disk as a Storyspace Reader for Macintosh computers; as of 2018, the work is available on the internet, encoded in HTML5 and CSS3, the latest in a series of at least a dozen necessary "upgrades" to its software instantiation. Throughout this period, techology for presenting archival material has continued to transform at an increasing rate. At the same time, previously unknown writings have come to light; new methods of processing writings have been developed; and certain assumptions guiding the preparation of previous volumes have had to be updated as well. This paper will focus on some of the most pressing issues facing the primary "minder of gaps" in such an enterprise, the Curator, of which Bill Bly is only the most recent. Perhaps the largest gap to be bridged in our comprehension of such an enterprise is that between the impression of tidiness and order that any "finished" instantiation — with its neatly labeled apparati, finding aids, annotations, and commentary — presents to the reader, in contrast to the extensive dithering, fussing, and floundering actually required to herd together a collection of writings that have been gathered and transmitted over a span of many generations. Once brought together, these texts must be arranged, sequenced, and linked to one another in an organization that facilitates their being read, understood (each by itself and as a member of a group), pondered, and then easily located again after being laid aside. The immaterial "space" defined by this "placement" of such "objects" in relation to each other — as if they were furniture and other appurtenances arranged in a room — is useless until its design can be mentally grasped by the reader, and some person must perform this essentially hospitalic function, that of welcoming the reader into the space inhabited by the writings of the Archives. In doing so, this hôtelier (the Curator, whether named or not), leaves a trace that itself can be "read". In We Descend, all such persons are regarded as of equal importance to the original Authors whose work the reader has come here to encounter. The first Curator was Egderus himself, a scribe who discovered a cache of ancient texts, to which he added writings by his contemporaries as well as his own recorded thoughts and memories, thereby creating the first "holdings" that form the kernel of the Archives now bearing his name. This process of amalgamation was recapitulated some generations later by an unknown Scholar who rediscovered the long-forgotten holdings of Egderus and passed it along, bridging the gap between Egderus and Bill Bly, whose mission has been to render the Archives into hypertext form.

Source: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/614/Welco…

What are we talking about when we say “digital literature” today? If the early works of electronic literature – hypertext fiction, hypermedia literature, generative texts – could be identified by the distinguishing feature of hyperlink or technology in a wider sense, nowadays Twitterature, literary blogs, and Facebook writings challenge more and more the possibility to define this kind of literature under a solely technology-based perspective. The Canada Research Chair on Digital Textualities' project “Répertoire des écrivaines et écrivains numériques,” inspired by the CELL project, is an attempt to mind the existing gap between these new textual objets and literary studies. In this presentation, we will show and discuss the criteria upon which we have defined what is a digital literary object and a digital author, the archiving modalities of those objects, and the epistemological structure of our project in order to think about the impact of the digital turn on literary concepts such as author, authorship, literary work, and genre.

Source: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/619/The+%…

In this presentation, the author argues that we should “mind the gap” between screen and skin, especially where it eclipses the precarious identities vulnerable within our hegemonic cultures. The contact zone where users interface with electronic media is actually constructed out of far more political scaffolding than people often recognize. Though “user friendly” assumptions reinforce the invisible logic of idealized interfaces open to all, the realities of social conditions which contextualize those technologies should make us rethink who the “user” really is. How has the threshold of the interface become a barrier for them? The presentation investigates how precarious identities, such as the indigenous and the queer, must navigate the contested boundaries of language and embodiment through electronic literature as haptic media. Caleb Andrew Milligan begins by considering how Jason Edward Lewis plays out politics upon the surface of the touchscreen. With help from Lori Emerson’s critique of the iPad, he argues that Lewis’s Poetry for Excitable [Mobile] Media is furthermore Poetry for Ephemeral [Maintainable] Media, as it relies upon digital technology vulnerable to what Terry Harpold terms the “upgrade path” and its movements toward eventual inoperability. He argues that this feature is an intentional subversion on Lewis’s part (himself part Cherokee, Hawaiian, and Samoan) as an aboriginal design practice which explores through the medium’s ephemerality an aesthetic of materialized erasure—the erasure, that is, of aboriginal cultures in the face of forced assimilation into Canadian cultures. As Lewis poetically performs the precarity of identity-through-language upon precarious platforms that kill more electronic literature than they preserve now, we are left with only the fleeting sense of touch that connects (soon to be only connected) us to his appoems. He then considers the just as ephemeral haptics of Porpentine’s With Those We Love Alive. As a beautifully brutal examination of escape from toxic cultures, Porpentine’s Twine game literally escapes the confines of the screen as it encourages players to draw symbols upon their skin that correspond with the narrative beats. Beyond just the quick clicks of hypertextual interaction, players actually have to feel the physical prick of inscripting themselves, and join in the game’s cycle of pain. Combining the work of Anastasia Salter and Bridget Blodgett on toxic geekdom with Jaishree K. Odin’s on feminist hypertext, he considers Porpentine’s precarious identity as a trans woman game developer in artistic opposition to a digital climate of “Gamergaters.” Her work reaches outside of norms and touches where other texts flatly cannot go. He draw in Diogo Marques’s claim that our skin is just as much interface as screen to finally consider the ephemerality of Porpentine’s text as well, once the hand-drawn markings are washed away. The embodied art fades, and the Twine game’s intoxicatingly violent world of language remains. The presentation ends to question how we are similarly just as ephemeral as the gestures and drawings of these electronic literary texts. The “touchy” subjects between screen and skin that these works explore highlight the precarious identities that cultures often aim to erase. Electronic literature as haptic media helps us to get in touch with these overlooked lives, and to not only mind the gap, but to stick our fingers in it.

Source: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/1124/Betw…

An interview with Anne Karhio on printed and digital contemporary Irish poetry, place and new media technologies.

"As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen.[...]Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time." http://mitpress.mit.edu/books/virtual-window

The essay Leituras de Nós: Ciberespaço e Literatura tries to understand the paths of poetic creation on computers and networks, mapping hypertext, programs and pages that apparently showed poems and literary works in the Internet. The book is accompanied by a CD-ROM publishing a poem to be read in a system of hypertext navigation. (Source: Itáu Cultural. Translation: Álvaro Seiça)