representation

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Linköping University
Linköping
Sweden

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The research project REP+REC+digit – Representations and Reconfigurations of the Digital in Swe­dish Literature and Art 1950–2010 – and Linköping University, Sweden, invite scholars in media archaeology, digital culture, artistic practice, media history, electronic texts, comparative literature and adjacent fields to the conference THINKING THROUGH THE DIGITAL IN LITERATURE – REPRESENTATIONS+POETICS+SITES+PUBLICATIONS, to be held at Linköping University, Sweden, 29 November to 1 December, 2017.

REP+REC+DIGIT explores different aspects of how digital technology and digital culture have influenced aesthetic and literary expressions since 1950, including digital artifacts, the digi­tization as motif, post-digital aesthetics and digital epistemology.

The topics of this event are derived from the questions that have been asked and explored throughout the project. The conference subtitle suggests four aspects of these explorations: The actual representation in art and literature; Aesthetic forms and critical reflec­tions; The material sites for writing and reading texts; and New interfaces for dissemination.

(Blog description)

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By Hannah Ackermans, 13 March, 2016
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Abstract (in English)

BioMorphic Typography is a new conception of writing and a morphing typeface driven by biofeedback. It enables users to become aware of their autonomic physiological functions while they type, in real-time. In doing so, BioMorphic Typography seeks to challenge longstanding Western notions about the relationship among the senses, representation, and technology.
(source: http://dl.acm.org/citation.cfm?id=1242164&dl=ACM&coll=DL&CFID=591233221…)

By Patricia Tomaszek, 3 October, 2015
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The transformation of interface from a merely indicative tool of navigation to a suggestive element infused with metaphorical power in text-based hypertext literature, and the incorporation of hypermedia and modes of play and games into the hypertext scenario--both strains are gradually winning attention in electronic writing. Topics such as the clarification of paidia (play) and ludus (game) constituents, their formal impact on literature, and the comprehension of the aesthetic matrices projected by the symbiotic infusion of literature, play and games, have been posited, creating a new node in the network of literary studies. In order to explore these fertile new fields, this paper first assigns itself to a survey of interface design and a formal observation of play and games in samples of electronic literature. Furthermore, the paper is focused on the interlaced poetics of representation (narrative) and simulation (paidia / ludus) in literary hypertext, play and games (together to be occasionally called, cybertext or ergodic literature, both terms taken from Espen P. Aarseth). It is hoped that the paper can bring more poetical recognition to digital textualities.

Source: Author's abstract

By Thor Baukhol Madsen, 12 March, 2015
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978-0801845932
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ix, 316
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By Alvaro Seica, 26 September, 2014
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The original essay, published in English as Camera Lucida: Reflections on Photography, 1981.

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Description (in English)

Les Mots et les Images is a work by J.-M Dutey published in alire 5 in 1991. At first, one encounters a table that is divided in 21 smaller boxes. Here, there is a spatial idea that is introduced which Dutey wished to explore as seen in a quote from the work itself, “(Dutey) voudrait que sa poésie explore les espaces qu’elle occupe et ceux qu’elle suggère.” This quote expresses an exploratory desire because one has to click on the words on the screen to begin the program. If one chooses not to click, then nothing will happen. It is up to the user to explore the work, whether that is limited or full exploration. This seems to give the user a sense of control, yet when one chooses to begin; the control is replaced by a feeling of being lost in the connections between the words in the smaller boxes. The words that appear in the small boxes are the following: Magritte, tableau/forme, « pour alire n.5 octobre 1991, proposition, mot(s), représentation, image(s), nom, objet(s), autre nom, contours, signification, réalité, figures/précises/choses, figures/vagues/choses, Philippe Bootz/Jean-Marie Dutey, ou bien le contraire, et 1928.The box « Magritte » is named in reference to the Belgian painter, René Magritte. All of the images that are used in the program are images that Magritte created in his work “Les Mots et les Choses” which explores the relationship between things and words from 1929 during the surrealist movement. Next to the large table containing the 21 smaller boxes, there is a small table with the words “autres objets”. In that same corner, a third table is divided in 9 boxes with the word “clic”. When one clicks on one of the 18 words on the larger table, lines appear between the chosen word and other words on the screen. There is a variety of connections that are made, ranging from as low as 2 or 3 and going as high as 6 or 7. The lines that appear are all in different colors (red, green, blue, brown, yellow, pink, etc.) Sometimes, the connections between the words are not actually lines, but instead circles. After having clicked, one can click on the square at the corner. In relation to the number of connections in the larger table, the smaller table divided in 9 will show different colors correlating to the colors of the lines/circles. When the colors appear, one can click on a color which will proceed to a screen that shows the relationship between the original word chosen and one of the original images by Magritte. For example, when one clicks on “objet(s)”, there are 9 additional words that are connected to it, therefore there are 9 total colors on the table. When one choses one of these 9 colors, one sees the connection between “objet(s)” and the word to which the color links it to. In this case, red leads to “representation”. The screen that follows is the relation between an object and the idea of a representation. The screen shows two identical houses. The first house has “l’objet reel” written under it; the second house has “l’objet représenté”. At the top of the screen, there is a sentence: “tout tend à faire penser qu’il y a peu de relation entre un objet et ce qui le représente » (everything tends to lead to thinking that there is little relation between an object and that which it represents). All the relationships between the words are represented by images. All the images describe the idea of space, of representation, of vagueness and of interpretation.

Description (in original language)

Les Mots et les Images est une œuvre par J.-M. Dutey publiée dans alire 5 en 1991. Au début, on trouve une grande boite divisé en 21 petits cadres. La majorité des petits cadres ont de mots ; sauf trois n’ont rien écrit. Là, il y a une idée de l’espace, que Dutey voudrait explorer selon une citation inclus dans l’œuvre : « (Dutey) voudrait que sa poésie explore les espaces qu’elle occupe et ceux qu’elle suggère ». Cette citation exprime un sentiment exploratoire parce qu’on doit cliquer sur l’un des mots pour que le programme lance. Si l’on ne clique rien, rien ne passe. L’œuvre est au lecteur d’explorer ou bien un peu ou bien tout. Cela semble comme de la prise, mais quand on clique sur un mot, ce n’est pas toujours le cas et on a de la déprise. Les mots qui sont dans les petits cadres sont : Magritte, tableau/forme, « pour alire n.5 octobre 1991, proposition, mot(s), représentation, image(s), nom, objet(s), autre nom, contours, signification, réalité, figures/précises/choses, figures/vagues/choses, Philippe Bootz/Jean-Marie Dutey, ou bien le contraire, et 1928. La boite « Magritte » est nommé pour le peintre belge, René Magritte. Toutes les images qui sont utilisé dans le programme sont d’images qu’il a créé dans son œuvre Les Mots et les Choses, qui explore le rapport entre les choses et les mots faite en 1929 pendant le mouvement surréaliste. A côté du grand cadre il y a un petit cadre avec « autres objets ». Dans le coin, un troisième cadre divisé en 9 se trouve avec le mot « clic ». Quand on clique sur l’un de ces 18 mots, on voit de lignes qui apparaissent entre le mot choisi et d’autres mots sur l’écran. Parfois il n’y a que deux ou trois liaison mais on peut aussi avoir six ou sept liaison Les lignes qui apparaissent sont dans de différents couleurs (rosse, vert, bleu, marron, jaune, rouge etc.) Parfois, les liaisons entres les mots ne sont pas de lignes mais de cercles. Après avoir cliqué, on peut cliquer dans le cadre au coin. Dépendant du nombre de liaisons, les petits cadres auront un couleur. Quand les couleurs apparaissent, on peut cliquer sur un et il montrera le rapport entre le mot qu’on a choisi au début avec l’un des images de Magritte. Par exemple, quand on clique sur « objet(s) », il y a neuf mots qui sont liés avec « objet(s) », donc neuf couleurs en totale. Quand on choisit l’un de ces neuf couleurs, on voit le rapport entre « objet(s) » et le mot encerclé par le couleur. Le rouge appartient à « représentation ». L’écran qui suit est le rapport entre un objet et l’idée d’une représentation. L’écran a deux maisons identiques. La première maison a « l’objet réel » écrit au-dessous ; la deuxième a « l’objet représenté ». En haut de l’écran, il y a une phrase : « tout tend à faire penser qu’il y a peu de relation entre un objet et ce qui le représente ». Tous les rapports entre les mots dans le cadre sont représentés par des images. Toutes les images décrivent cette idée de l’espace, de la représentation, du vague et de l’interprétation. (Source: Sergio Encinas)

Description in original language
By Patricia Tomaszek, 2 July, 2013
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5 (2013)
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Abstract (in English)

The impact of hypertext and hypermedia on scholarly editing of our literary legacy, which is increasingly published in electronic formats, has fostered a conceptual shift from the archive as a classified hierarchical collection of texts to the archive as a decentred and reconfigurable network of texts. Another important set of questions concerns new methods for editing and organizing multimodal textualities resulting from combinations of materials and media (graphic, audio, video, digital). The convergent multimodality of digital textuality opens up a new editing and archival space for multimedia and intermedia forms of writing. In the current technological context, innovative and experimental literary forms become relevant, as many of the operations that the machine provides can be found in previous literary practices: from collages and automatic writing to narrative permutations and intermedia poetry. This issue of the journal addresses problems of representing, archiving, and publishing experimental literary forms in digital spaces. The fifth volume of Cibertextualidades includes research papers about processes and methods for representation, preservation, and dissemination of intermedia and multimedia literary practices using digital archival systems.

Source: excerpt from editorial

By Sissel Hegvik, 20 April, 2013
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Den arabiske skrift er omgærdet af mystik og uforståelighed, måske fordi den er udspændt mellem den største betydning og den rene abstraktion - gennemsyret af metafysisk betydning og fuld af ærefrygt. Samtidig har forbudet mod det figurative og repræsentationen avlet en ustyrlig vækst af mønstre og arabesker. Karen Wagner introducerer en række moderne kalligrafer: mellemøstlige, ofte eksilerede kunstnere, som skaber forbindelse til fortidens tradition, såvel som vestlige “asemikere”, for hvem kalligrafien åbner en alternativ indgang til skriftbilledet, oplevelsen af sproget, ja måske endda selve tanken.

Pull Quotes

Han, som underviste i pennens brug,
lærte mennesket det, det ikke vidste.

-Qur'an, Sura Al-'Alaq (96:4-5)

By Patricia Tomaszek, 20 April, 2013
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University
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978-1249061847
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Abstract (in English)

This study explores the ways in which ethnographic data might be represented within a hypertext format. It begins with an analysis of the historical roots of the technology to determine key characteristics that differentiate it from other media. Three characteristics surface through this analysis: multilinearity, multivocality, and multimodality. The current study examines these characteristics from a more critical stance to determine what is possible in practice. To this end, three ethnographic hypertexts are analyzed to determine strengths and weaknesses. From this analysis, a set of design implications emerge that provides a framework for a case study entitled The Congo Prototype . The Congo Prototype is built from an extensive study of a museum located in Belgium, The Royal Museum for Central Africa (RMCA), along with interviews with colonial veterans who served in the Congo up until Independence. This work offers the reader specific techniques that might be incorporated into future works, and at the same time, provides a stand alone ethnographic study of numerous narratives revolving around the Belgian Congo. In the final sections of this dissertation, several suggestions are outlined for future research. It is suggested that practitioners might consider database driven ethnographies as a means of creating a more dynamic reading experience; cross linked studies to achieve a higher degree of multivocality; and integration of a "play around" feature that would allow readers to determine the amount of data that could be viewed in support of specific claims. The study concludes with a brief discussion of some of the intractable issues that cannot be solved through technological means, such as the crisis of representation, the importance of being in the field, and the politics of web publishing.Source: Author's Dissertation Abstract

[Note from ELMCIP KB editors: the most relevant references to the field of electronic literature have been included, but the list of references given in this database entry is not complete.]

By Scott Rettberg, 19 January, 2013
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"Visualizing Cultures In The Age Of Digital Media" is a hypertextual interactive work designed for DVD, that explores the ways media shape our understanding of cultural places and events. The work incorporates original material on West African performances and events recorded in Ghana as well as clips from a number of early and exemplary documentaries. The project includes an analysis of theories of montage, tropes, visual cognition, and cultural practices within the context of hypermedia and the new technology, bridging the fields of visual studies, cultural studies, media studies, art history, visual anthropology and communication. It suggests new tools and methods of representation available to students, scholars and filmmakers and raises questions about the relationship of language to text and theory to practice in the arts of digital representation.

(Source: DAC 1999 Author's abstract)