This idea came from an university project (2017) and thanks to the exchange students' program.
This is an experiment of digital poetry written in 14 verses: it was asked to 10 people from 10 different countries to translate each of them from English to their mother tongue.
Every clips were recorded in different places in Bergen (NO).
The result is a multilingual digital poem about Bergen.
Anthony Enns juxtaposes two models of German media theory in reviewing new works by Oliver Grau and Friedrich Kittler.
There are numerous essays and reviews on German-language electronic literature, which run from the mid nineties to the present day. Most of these texts, however, are written in German – a language that is no longer accepted and common as an universal language for science.
In order to present the overview of German language electronic literature, we filtered out some historical lines that may explain better how the development of individual genres came about. A good starting point may be the very first experiments of authors with computers to generate electronic poetry, a subject the international community mostly agrees upon.
The following model of historical lines of development is suggested:
A historical analysis shows that these five lines of net literature are based upon two prior German strands going back to philosophical, poetical and artistic experiments in the 1960s: On the one hand, the Stuttgart School by Max Bense with exponents Reinhard Döhl and Theo Lutz, the latter producing a first example of digital poetry in 1959. On the other hand, the computer graphics experiments of 1960 and the punched-card linker projects by artists Kurd Alsleben and Antje Eske in Hamburg.
The presentation for ELO Paris 2013 introduces this model of lineage for the development of German-language electronic literature. Taking time- and textspace constraints in consideration, the foucus is set on the strand „I Stuttgart School“ and the line „1. Concrete Experiments“. For all other lines the sympathetic reader finds descriptions and historical examples in the essay „From Theo Lutz to Netzliteratur“ in Cybertext Yearbook 2012.
The presenter has been part of the net literature community that spans Germany, Austria and Switzerland as a researcher, publisher and artist for twenty years.
(Source: Author's abstract, 2013 ELO Conference: http://conference.eliterature.org/critical-writing/lineages-german-lang…)
Graphomanische Laienkultur und Renaissance klassischer Regelpoetik, obszöne Gegenkultur und politisches Guerilla-Marketing – das widersprüchliche Kolorit der russischen Literatur im Internet verdankt sich dem historischen Kontext der Digitalisierung Russlands. In paradoxalen Wellenbewegungen konstituiert sich das russische Internet als autonomer Raum und marginales Experimentierfeld, als strategische Ressource im Kampf um die mediale Elite und die unterhaltungslustigen Massen. Henrike Schmidt eröffnet Einblicke in einen faszinierenden Kulturraum und diskutiert am russischen Spezialfall allgemeine Probleme der digitalen und vernetzten Literatur (Autorschaft, Fiktionalität, Medienwechsel).
First produced in 1998, Bas Böttcher’s looppool marks a specific generational moment in the history of online poetry and netart. Simple yet delightful, its palindrome title playfully describes the Sisyphean loop of wandering red billiard balls through a textual maze composed of scattered objects, thoughts, and actions. The reader can either passively watch as these spherical flaneurs wander along the pre-selected path or click to alter their course. Rather than convey the sense of an infinite possibility space, the paths of these poems are highly constrained. Like a Möbius strip, there is no outside to this looppool and regardless of the direction taken, the leisurely poem will wander forever along an unbroken loop.
(Source: editorial statement, Electronic Literature Collection, Volume Three)
