linguistics

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Leipzig
Germany

Short description

The CLARIN Annual Conference is the main annual event for those working on the construction and operation of CLARIN across Europe, as well as for representatives of the communities of use in the humanities, and social sciences.

This event is organized by CLARIN ERIC in collaboration with the University of Leipzig and InfAI - Institut für Angewandte Informatik.

CLARIN2019 is organized for the wider Humanities and Social Sciences communities in order to exchange ideas and experiences with the CLARIN infrastructure. This includes the design, construction and operation of the CLARIN infrastructure, the data, tools and services that it contains or should contain, its actual use by researchers, its relation to other infrastructures and projects, and the CLARIN Knowledge Sharing Infrastructure.

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By Filip Falk, 15 December, 2017
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CC Attribution Non-Commercial Share Alike
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Abstract (in English)

Tempering the myth of global variety, David Golumbia processes the dominance of English in digital environments - and a highly standardized English at that.

(Source: EBR)

By Jill Walker Rettberg, 27 June, 2013
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Abstract (in English)

The recent evolution of western societies has been characterized by an increasing emphasis on information and communication. As the amount of available information increases, however, the user -- worker, student, citizen -- faces a new problem: selecting and accessing relevant information. More than ever it is crucial to find efficient ways for users to interact with information systems in a way that prevents them from being overwhelmed or simply missing their targets. As a result, hypertext systems have been developed as a means of facilitating the interactions between readers and text. In hypertext, information is organized as a network in which nodes are text chunks (e.g., lists of items, paragraphs, pages) and links are relationships between the nodes (e.g., semantic associations, expansions, definitions, examples -- virtually any kind of relation that can be imagined between two text passages). Unfortunately, the many ways in which these hypertext interfaces can be designed has caused a complexity that extends far beyond the processing abilities of regular users. Therefore, it has become widely recognized that a more rational approach based on a thorough analysis of information users' needs, capacities, capabilities, and skills is needed. This volume seeks to meet that need.

From a user-centered perspective -- between systems and users -- this volume presents theoretical and empirical research on the cognitive processes involved in using hypertext. In so doing, it illustrates three main approaches to the design of hypertext systems:
*cognitive, which examines how users process multilayered hypertext structures;
*ergonomical, which explores how users interact with the design characteristics of hardware and software; and
*educational, which studies the learning objectives, frequency and duration of hypertext sessions, type of reading activity, and the user's learning characteristics.

This volume also tries to provide answers for the questions that have plagued hypertext research:
*What is hypertext good for?
*Who is hypertext good for?
*If it is useful for learning and instruction, then what type?
*What particular cognitive skills are needed to interact successfully with a hypertext system? Anyone interested in the fields of computer science, linguistics, psychology, education, and graphic design will find this volume intriguing, informative, and a definitive starting point for future research in the field of hypertext.

Description (in English)

The third part of Jason Nelson's artgame trilogy.

Video games are a language, a grammar or linguistics of various texts. The sounds, the movement, the graphics, the rules or lack of rules, everything about a video game is a component of language.  A digital poetry game must combine all these elements, strange and interactive stanzas, crossed out and obstructed lines, sounds and texts triggered and lost during the play.  Indeed the game interface becomes a road to inhabiting the digital poem, to coaxing the reader/player into living and creating within the game/poetry space.

Using a top down, platform engine (without gravity) Evidence of Everything Exploding is a game driven digital poem exploring various historical and contemporary texts. Each level’s poetic content is built from the document’s sub-sub texts and curious consequences. With Bill Gates’ letter to the Computer Brew Club about monetizing hobby computing, we find the seeds of an empire, James Joyce is caught in an infinite loop of changing texts, Fidel Castro’s boyhood letter to the US president praising America and asking for money signals an opportunistic future.

 With ten levels, each with video poem prizes, and strange poetic narratives, this game is a sequel to “game, game, game and again game” and “I made this. You play this. We are enemies”.

I ♥ E-Poetry entry
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Description (in English)

A harrowing alphabetical excursion into the world of the rolled r. Milutis tracks—and, through sounds and videos, shows—the primal violence and utopian trill of 'the most rrresilient of locutions' in sound poetry, regional dialects, and televisual affects, from Kurt Schwitters to Georges Perec to Rodgers and Hart to Charles Bernstein.

Pull Quotes

This site between what Agamben calls "the infinite sea of mere sound" and articulate speech is the particularly generative, albeit ambiguous, site of sound poetry, if not of poetry itself. Yet sometime around 1950 (for poet Steve McCaffery), or even at the turn of the twentieth century (for media theorist Friedrich Kittler), something happened to take poetry away from the word, and by extension the letters that compose it, as recording technology allowed for an aestheticization of “mere sound.” Indeed, the rolled r—puncturing the line through its pure sounding—promised this return to the infinite sea of the real, presaging more effective disruptions of symbolic networks by way of the proliferation of reproduced sound.