literary systems

By Eric Dean Rasmussen, 14 May, 2012
Publication Type
Language
Year
Pages
441-61
License
All Rights reserved
Record Status
Abstract (in English)

Excerpt from chapter 2 of Literary Machines. Susalito, CA: Mindful Press, 1981.

Pull Quotes

As a first step we propose such an evolutionary structure, the 'docuplex', as the basic storage structure for electronic literature.

The true storage of text should be in a system that stores each change and fragment individually, assimilating each change as it arrives, but keeping the former changes; integrating them all by means of an indexing method that allows an previous instant to be reconstructed.

By Patricia Tomaszek, 12 January, 2011
Language
Year
Edition
1st
Pages
418-436
Record Status
Abstract (in English)

German net literature had an early and very public start through competitions organized in 1996-8 by the major newspaper Die Zeit and IBM, but was declared dead or stillborn immediately afterwards. Consequently, net literature became a subject of controversy between artists, theorists, and literary critics from which not only a strong community evolved but also a literary system. In this system, competitions served as public, peer-reviewed mediators for net literature and became an important feature of “post-processing.” Since the end of the 90s however, German net literature became slowly invisible. The lack of public awareness of net literature is common to many countries. Post-processing is a key for public visibility and according to Siegfried J. Schmidt et al. an important component in a literary system. In search of reasons for the state of invisibility of German net literature, I analyze mechanisms of post-processing in our community, which I regard as a literary system. This descriptive synopsis is the first paper in an upcoming series that opens up questions towards the role of peer-review, public reception, and artists' community-building.

Pull Quotes

At an early stage in the 90s, German net literature became a subject of a controversial debate between artists, theorists, and literary critics. A strong community evolved in which net literature was embedded in an infrastructure that made net literature publicly visible. Everything started with a call for a competition whose jury hardly defined what it was looking for; consequently, a critical study on terminologies and definitions unfolded. I regard competitions as public, peer-reviewed mediators for net literature. The advents of the German Pegasus-Award that launched in 1996 were of crucial importance for the community and its emerging field.

“It is remarkable that net literature in Germany has been stronger when its post-processing mechanisms were active: when juries from magazines called for submissions for an award in net literature. In Germany, prizes for works (of net literature) were awarded between 1996 and 1998 (Pegasus) and 1999 (Ettlinger Prize for Literature).

Critics are tasked with not only understanding a work of net literature but also with contextualizing, explaining, and critically discussing it. In Germany, critics from the literary tradition failed in giving an appropriate account to the new emerging field.

Nowadays, only occasionally competitions take place. The honored works are of quality but the impact of these competitions is low and does not reach many recipients. Additionally, there is (almost) no post-processing devoted to works of German net literature anymore. In fact, net literature in Germany became as invisible as its community.

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Description (in English)

Diagrams Series 6 is the latest in a life-long series of Diagram Poems, the earliest experimentations for which began in 1968. Although I have been making interactive works since 1988, Diagrams Series 6 is actually my first work written in a fully interactive way: from beginning to end in one interactive environment where the word object is playable at every stage of its development, from temporary unassembled scrap all the way to its final location in a finished piece. This environment is part of an ongoing project which I call Hypertext in the Open Air, implemented in a programming system called Squeak. It allows the works to be played on all popular computing platforms, including Macintosh, BSD, Linux, and Windows. Diagrams Series 6, consisting of the works 6.4 and 6.10, strives to return to the intense diagrammicity of some of my earlier non-interactive works, Diagrams Series 4 and Diagrams Series 3. The diagram notation acts as a kind of external syntax, allowing word objects to carry interactivity deep inside the sentence. Interactivity, in turn, allows for juxtapositions to be opened so that the layers in cluster can occupy the same space and yet be legible. A problem we all have: a multiplicity, we must all occupy the same world space, do no harm, and yet be free. Carrying multiplicity inside the thought, inside the sentence: the thought as world. At a time when our world is in deep painful need of more multiplicity of thought.

(Source: Author description, Electronic Literature Collection, Vol. 1.)

I ♥ E-Poetry entry
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Technical notes

After clicking to start Squeak and Diagrams 6.4 or 6.10, click on the box next to "Introduction" to see full instructions. Instructions on running Diagrams Series 6 on other operating systems are available in Rosenberg's read me file.