experimental literature

By Rui Torres, 21 February, 2021
Publication Type
Language
Year
Publisher
ISBN
978-989-643-155-6
ISSN
1646-4435
Record Status
Description in original language
Abstract (in original language)

Entre 2006 e 2017, a Revista Cibertextualidades publicou 8 números com artigos sobre textualidades eletrónicas e escritas digitais. Agora, avançamos para uma nova aventura, criando, sob a mesma designação, uma coleção de livros electrónicos (PDF), com ISBNs individuais, mantendo a linha editorial e temática, assim como o apoio e a distribuição, em acesso aberto, pelas Publicações Universidade Fernando Pessoa. Esta será uma coleção de livros em língua portuguesa e espanhola, sem periodicidade fixa, com mais flexibilidade em relação às datas e aos conteúdos. Este primeiro livro da coleção, sobre e-poetas (e-xperimentais e e-lectrónicxs), que tem como título “Fobias - Fonias - Fagias. Escritas Experimentais e Eletrónicas Ibero-Afro-Latinoamericanas, reúne artigos, ensaios visuais, depoimentos, poemas, reflexões. Mostrámo-nos abertos a diferentes abordagens, e o estilo adoptado é também ele diversificado: sem tamanho mínimo ou máximo, sem um formato imposto. O nosso único critério foi a qualidade, a relevância, a criatividade e a pertinência em relação a esse triângulo: fobias, fonias, fagias.

Description (in original language)

"Calar-se não é ser mudo, é recusar falar, portanto falar ainda". (Jean-Paul Sartre)

Por entre os processos centrípetos/centrífugos de rarefacção que permeiam a comunicação, uma sequência de processos palavrofágicos por meio do qual a palavra é devorada, mastigada, digerida e devolvida, para de novo ser engolida. Apresentando-se sob a forma de três variações – “Absorção” (instalação fotográfica), “Devoração” (publicação em papel e tinta comestíveis), “Consumição” (interface digital) – a série “PALAVROFAGIA” pretende explorar possibilidades intermediais e transliterárias de representação da palavra poética. Da visão háptica na fotografia/cromatografia ao toque háptico na poesia digital, passando pela multisensorialidade do livro comestível, esta série sugere uma contaminação constante entre tecnologias analógicas e digitais, representada por três formas geométricas mutáveis de disposição da palavra.

Description in original language
Content type
Year
Publisher
Language
Publication Type
Platform/Software
Record Status
Description (in English)

 

"Locusta temporis" is a journey through time and imagination. The story begins in contemporary France, where a couple of young students are struggling with an archaeological discovery capable of changing their lives and transporting them to places and times that are definitely unexpected. Suitable for adults and children, it consists of nine chapters full of twists, in which the reader actively participates in the unfolding of the affair and the solution of problems.

Source: https://www.ibs.it/locusta-temporis-ebook-enrico-colombini/e/9788896922…

Content type
Author
Year
Language
Publication Type
ISBN
9781582431338
Record Status
Description (in English)

If David Markson is anything like Writer, a lugubrious fellow who pops up intermittently in ''This Is Not a Novel,'' his latest experimental outing, he seems to have written a book that's entertaining in spite of himself. Writer mopes around, feeling ''weary unto death of making up stories'' and ''equally tired of inventing characters.'' In an apparent bid to make his readers just as miserable, he wishes to ''contrive'' a ''novel'' without either. 

By: Laura Miller

(Source: https://archive.nytimes.com/www.nytimes.com/books/01/04/01/bib/010401.r…)

Screen shots
Image
Content type
Author
Year
Publisher
Language
Record Status
Description (in English)

Finnegans Wake is a work of fiction by Irish writer James Joyce. It is significant for its experimental style and reputation as one of the most difficult works of fiction in the English language. Written in Paris over a period of seventeen years and published in 1939, two years before the author's death, Finnegans Wake was Joyce's final work. The entire book is written in a largely idiosyncratic language, which blends standard English lexical items and neologistic multilingual puns and portmanteau words to unique effect. Many critics believe the technique was Joyce's attempt to recreate the experience of sleep and dreams. Owing to the work's linguistic experiments, stream of consciousness writing style, literary allusions, free dream associations, and abandonment of narrative conventions, Finnegans Wake remains largely unread by the general public.

Despite the obstacles, readers and commentators have reached a broad consensus about the book's central cast of characters and, to a lesser degree, its plot, but key details remain elusive. The book discusses, in an unorthodox fashion, the Earwicker family, comprising the father HCE, the mother ALP, and their three children Shem the Penman, Shaun the Postman, and Issy. Following an unspecified rumour about HCE, the book, in a nonlinear dream narrative, follows his wife's attempts to exonerate him with a letter, his sons' struggle to replace him, Shaun's rise to prominence, and a final monologue by ALP at the break of dawn. The opening line of the book is a sentence fragment which continues from the book's unfinished closing line, making the work a never-ending cycle. Many noted Joycean scholars such as Samuel Beckett and Donald Phillip Verene link this cyclical structure to Giambattista Vico's seminal text La Scienza Nuova ("The New Science"), upon which they argue Finnegans Wake is structured.

Joyce began working on Finnegans Wake shortly after the 1922 publication of Ulysses. By 1924 installments of Joyce's new avant-garde work began to appear, in serialized form, in Parisian literary journals transatlantic review and transition, under the title "fragments from Work in Progress". The actual title of the work remained a secret until the book was published in its entirety, on 4 May 1939. Initial reaction to Finnegans Wake, both in its serialized and final published form, was largely negative, ranging from bafflement at its radical reworking of the English language to open hostility towards its lack of respect for the conventions of the genre.

The work has since come to assume a preeminent place in English literature, despite its numerous detractors. Anthony Burgess has lauded Finnegans Wake as "a great comic vision, one of the few books of the world that can make us laugh aloud on nearly every page." The prominent literary academic Harold Bloom has called it Joyce's masterpiece, and, in The Western Canon (1994), wrote that "if aesthetic merit were ever again to center the canon, [Finnegans Wake] would be as close as our chaos could come to the heights of Shakespeare and Dante." The now commonplace term quark – a subatomic particle – originates from Finnegans Wake.

(Source: Wikipedia entry on Finnegan's Wake)

By Piotr Marecki, 27 April, 2018
Author
Publication Type
Language
Year
License
Public Domain
Record Status
Abstract (in English)

Presentation by Piotr Marecki of UBU lab at Jagellionian University, discussion of different lab models for e-lit and digital culture.

By Piotr Marecki, 27 April, 2018
Language
Year
Presented at Event
License
Public Domain
Record Status
Abstract (in English)

The poster is a visual presentation of the experiment that was the translation from English into Polish of the Nick Montfort computer generated novel World Clock (2013) and its subsequent publication and distribution in print in Poland (Zegar światowy, 2014). The poster is composed of two distinct parts. The first part is devoted to the in-depth description of the problem of translating a generator, focusing on the challenges connected with the language transfer of programmed narrative work, as well as chosen issues connected with the publication process. The second part covers what occurred after the publication of the book and presents the conclusions of the analysis of the reception of the work.Zegar światowy was the first computer generated novel published as a book in Poland, thus it gained interest of some media and critics, who usually do not discuss experimental works. It may be hypothesized that the interest was partially due to the fact that the generator was partially inspired by a text by the Polish writer Stanisław Lem, which makes it an example of what Strehovec describes as derivative writing.

In the first part, using the expressive processing tools proposed by Noah Wardrip-Fruin, the authors describe the translation process, beginning with the input data, the code of the process and ending with the generated output. The program, written in English, consists of 165 lines of code and randomly generates 1440 short stories, which are coordinated with the Python pytz time zones application, pairing the generated stories with cities in different timezones. Because of numerous differences between the grammar of English and Polish, the Polish version of the program consists of as many 229 lines. The translator chose to make changes in the code in order to generate from the input stories with a similar structure, but accommodating for the specifics of the Polish language. Writing the code required addressing a number of problems, like including grammatical gender or translating the names of characters and locations. Some other changes were dictated by the use of timezone definition base in Python, for which there is no Polish version. In this part of the poster the authors will also address the question why publication in the medium of a traditional print book was one of the key elements of the project, referring to literature on the materiality of literature.

The second part of the project is an analysis of the marketing and reception of the book in Poland. Montfort's project is inspired by a made-up book review by Stanisław Lem, in which the writer imagines the book One Human Minute, consisting of an enumeration what all the people around the world do in one minute. The Polish translation was marketed as a computer generated novel based on Lem's idea. Thanks to the decision to distribute this conceptual work just like conventional literature, through a traditional publishing house, the work received critical reception unprecedented for works from the field of electronic literature in Poland. Instead of being discussed by digital media scholars, Zegar światowy received 15 reviews in mainstream columns and on blogs and websites devoted to conventional literature. This experiment provided the opportunity to analyze how experimental electronic literature is perceived by actors from the field of conventional literature. The author analyzes the discourse of their reactions, the focal points of which include the “non-human” aspect of the work, its experimental character and values associated with it, as well as different approaches to the reference to the celebrated Polish science fiction writer. 

Description in original language
Description (in English)

The Stoberskiade is several hundred stickers scattered across all the continents of the globe, which, after being photographed, will come together on a web site to create a wholly unique "street biography" of Jaś Stoberski. This is simultaneously a tourist route through the life and work of a writer that owes a debt to situationist psychogeography, where the concept of the map is set on the basis of drifting through places that are, by premise, unattractive and untouristy. This "sticker biography" is open-ended non-fiction, encouraging the viewer to download a sticker from the Ha!art web site, print it out, stick it in a place where the great stroller Stoberski might have gone, and then send a photograph to the web-site administrators 

Description (in original language)

Stoberskiada to kilkaset wlepek rozsianych po wszystkich kontynentach globu, które spotykają się sfotografowane na stronie internetowej i tworzą jedyną w swoim rodzaju lokacyjną biografię Jasia Stoberskiego. Stoberskiada to jednocześnie turystyczna trasa po dziele i życiu pisarza spłacająca dług sytuacjonistycznej psychogeografii, gdzie pojęcie mapy ustala się na podstawie dryfu po miejscach programowo nieatrakcyjnych i nieturystycznych. Biografia na wlepkach (sticker biography) to non-fiction otwarte, zachęcające odbiorców do pobrania wlepek ze strony wydawcy, Ha!artu, oraz ich wydrukowania i naklejenia w miejscach, do których potencjalnie mógł dotrzeć piechur Stoberski, a następnie przysłania fotografii do administratorów strony 

Description in original language
Screen shots
Image
The Stoberskiade
Image
The Stoberskiade
Image
The Stoberskiade