dissemination

By Eric Dean Rasmussen, 21 June, 2012
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Abstract (in English)

This panel offers three academic papers that explore the use of mobile technologies in electronic literature. Organized from contributions that appear in the forthcoming collection, Digital Storytelling with Mobile Media: Locative Technologies and Narrative Practices, edited by Jason Farman, the impetus behind each of these papers is the ways in which mobile media are transforming the creation, dissemination, and experience of electronic literature.

The panel situates these mobile media narratives historically, acknowledging that mobile media have always affected the ways narrative is produced and disseminated. By locating mobile media historically and defining it broadly — yet simultaneously understanding the important impact of contemporary mobile technologies, especially locationaware mobile devices — this panel investigates the relationship between mobile technologies and narrative forms.

Drawing off of compelling examples of electronic literature that utilize location-based mobile media, we seek to develop a theoretical grounding for a meaningful analysis of mobile media narratives. Using examples such as TXTual Healing, [murmur], the Fort Vancouver Mobile Project, and student-designed electronic literature, these papers cover topics such as the transformation of reading interfaces from individual consumption to community engagement, the affordances and constraints of locative narratives, and practices of intermediality.

(Source: Author's abstract, 2012 ELO Conference site)

Short description

At the 2002 Electronic Literature Online conference in Los Angeles, Katherine Hayles' keynote address warned that the incessant development of the software and hardware is rendering old computer based works obsolete and inaccessible. Although obsolescence is a problem for every form of cultural production, the reliance of computer-based creations upon a constantly evolving delicate matrix of software and hardware, makes preserving and archiving digital work especially challenging. Out of last Spring's discussions emerged the "PAD" initiative, and acronym for "preservation, archiving, and dissemination." PAD is an effort to develop a software standard (and perhaps eventually software products) that would give writers and artists some influence over the future development of the hardware/software interface, especially with regard to three practical goals of preservation, archiving, and dissemination.In the discussions of the last year, apparently available and relatively simple solutions--for example, preserving digital works by creating emulators that allow us to migrate them to new platforms--end up becoming complex, and implicated in many other issues. Here are a few: the value of earlier works (are they worth saving?); cost (at what expense?); technical feasibility (how can it be done?); ownership of works and software platforms (what sort of open-ness and access is necessary for this project). Such a project requires constant attention to creators and users (who benefits, and it what ways?).The April conference has two primary purposes: to address the general issues surrounding an attempt to preserve, archive and disseminate works created on the computer, and, in dialogical spirit, by offering a public account of the PAD project, we hope learn from those participating in the conference.

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By Eric Dean Rasmussen, 27 October, 2011
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Abstract (in English)

A conversational interview between the with poet Kenneth Goldsmith and the literary critic Marcus Boon.

Pull Quotes

I mean, Duchamp is visionary but in a way, it is very useful; it’s a way to understand how to proceed. I think at some point, in Wittgensteinian terms, we’ll have to “drop the ladder.”

It’s amazing how adaptable we are to a brand new environment, however, we adapt to it better, I think, than we can theorize it or understand it. I just think that it’s so profoundly changing on so many levels that art remains a theoretical device for understanding some aspect of what we’re going through today.

In a way, if you have a movement or type of writing that’s predicated upon not reading you actually set up a way around the problem of primary, secondary, and tertiary languages.

So conceptual writing has actually got a huge international writership and anti-readership simply, based on the idea that nobody has to read this stuff.

I think that the thing that’s happened is a paradigm shift that’s called . . . that is the digital...We have the technology that does it so much better than what we were trying to do or actually distributes it, that which has already been written, so much of what has already been written much better than we’re able to do. Writing has to then reimagine what it can be in the digital age.

Yeah writing—the smallest morpheme (tk) of language, that’s what modernism taught us—is deeply associative,

We actually say that expression and content and meaning is all part and parcel of the information that we’re moving. It’s encoded. It’s DNA. You can’t get away with it! So why try so hard to express yourself when the content that you’re working with is full of expression anyway.

I always say, if I raised my kids the way I wrote my books I would’ve been thrown in jail a long time ago.