letteratura elettronica in lingua inglese 2014-15
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| letteratura elettronica in lingua inglese 2014-15 |
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introduction
Electronic Literature Organization’s definition of electronic literature says “works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer.”
Lori Emerson: e-literature is “what did not exist until the founding of the Electronic Literature Organization in 1999. [... It] is a name, a concept, even a brand with which a remarkably diverse range of digital writing practices could identify (...).”
electronic vs digital literature
- hypertext fiction, hypernovels, hyperpoetry, hyperfiction
- interactive fiction
- cyber-literature, cyber-poetry, ergodic literature
- "codework," textual software art (code poetry)
- generative art
- Flash poem, flash generation texts
- network fiction, net literature
- installation pieces, software-controlled electronic text-based installation art
- locative narratives
- text-based computer games
- experiential writing in digital media, physio-cybertext ...
Terminology:
• digital publishing ( ebooks, print on demand, audio Books come MP3 files) > digitized literature, printed literature made available online
• scholarly digital hypertext editions : multimedia implementation of classics, edizioni critiche, See www.tristramshandyweb.it
machine language = an interface between hardware and text, which we can extend to include operating systems, applications and a variety of software widely shared all over the world to allow global communication; secondly, a
verbal language = cooperates with equally shared multimedia and multimodal languages of communication
Michael Joyce’s hypertext fiction, afternoon, a story, first presented in 1987, Eastgate -- Storyspace
Shelley Jackson’s Patchwork Girl
Stuart Moulthop’s Victory Garden
Love letters generator Christopher Strachey, Manchester Mark I in 1952 [http://grimbletron.webfactional.com/thankyou/]
Combinatory Love Letters (1952)
Apart from the beginning and the ending of the letters, there are only two basic types of sentence. The first is "My—(adj.)—(noun)—(adv.)—(verb) your—(adj.)—(noun)." There are lists of appropriate adjectives, nouns, adverbs, and verbs from which the blanks are filled in at random. There is also a further random choice as to whether or not the adjectives and adverbs are included at all. The second type is simply "You are My—(adj.)—(noun)," and in this case the adjective is always present. There is a random choice of which type of sentence is to be used, but if there are two consecutive sentences of the second type, the first ends with a colon (unfortunately the teleprinter of the computer had no comma) and the initial "You are” of the second is omitted. The letter starts with two words chosen from the special lists; there are then five sentences of one of the two basic types, and the letter ends "Yours (adv.) M.U.C.." (26-27)
Here is an example :
JEWEL JEWEL
MY HEART IS WEDDED TO YOUR WISH. MY ADORABLE YEARNING FONDLY CHERISHES YOUR KEEN CHARM. MY PRECIOUS RAPTURE PASSIONATELY LONGS FOR YOUR BEAUTIFUL AMBITION. YOU ARE MY TENDER LUST. MY YEARNING CLINGS TO YOUR PASSION.
YOURS IMPATIENTLY
M. U. C.
Electronic Literature Organization established in 1999, the term was truly institutionalized
Google's Ngram Viewer allows us to graph the frequency with which different terms for electronic literature were used in books published between 1985 and 2008.
ELMCIP Knowledge Base for Electronic Literature
ELO Electronic Literature Collection 1 --- 2
Eastgate’s hypertext fictions
Main features:
• data
• process
• interaction
• surface
• context
process-intensive-program vs data-intensive-program
Shelley Jackson, My Body - a WunderkammerSara Rossetti, MM Metromind
Christine Wilks , Out of Touch [Christian Boltanski]
Heavy Industries, Dakota
Talan Memmott, Lexia to Perplexia
Brian Kim Stefans, The Dreamlife of Letters
John Cayley, windsound
Camille Utterback & Romy Achituv, Text Rain
Noah Wardip-Fruin - Screen Installation >>from youtube: https://www.youtube.com/watch?v=WOwF5KD5BV4
Conspiracy for Good [geolocalization]
Cowbird, -- Sagas
Judd Morrissey, The Jew's Daughter, http://www.thejewsdaughter.com/
Scott Rettberg, Kind of Blue, http://tracearchive.ntu.ac.uk/print_article/index.cfm?article=77
Kate Pullinger, Inanimate Alice, http://www.inanimatealice.com/education/
Tisselli, Degenerative
Joseph Weizenbaum, Eliza/Doctor
http://twinery.org//
http://www.inklestudios.com/inklewriter/
twine'stories: http://inurashii.xyz/twine-favorites/
precursori
la pagina come un limite da violare
Laurence Sterne, Tristram Shandy ---- griglie---
Sterne, Tristram Shandy
Stéphane Mallarmé (1842 – 1898), Un coup de dés jamais n'abolira le hasard
1923 -TristanTzara’s advised To Make a Dadaist Poem as follows:
Take a newspaper.
Take some scissors.
Choose from this paper an article the length you want
to make your poem.
Cut out the article.
Next carefully cut out each of the words that make up
this article and put them all in a bag.
Shake gently.
Next take out each cutting one after the other.
Copy conscientiously in the order in which they left the bag.
The poem will resemble you.
And there you are—an original author of charming sensibility, even though unappreciated by the vulgar herd.
William Burroughs, “Cut-ups”
Burroughs’ essay "The Cut-Up Method of Brion Gysin" acknowledges this in its first sentence:
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At a surrealist rally in the1920s TristanTzara the man from nowhere proposed to create a poem on the spot by pulling words out of a hat. A riot ensued wrecked the theater. [. . . ] In the summer of 1959 Brion Gysin painter and writer cut newspaper articles into sections and rearranged the sections at random.
"The cut-up is actually closer to the facts of perception than representational painting. Take a walk down a city street and put down what you have just seen on canvas. You have seen a person cut in two by a car, bits and pieces of street signs and advertisements, reflections from shop windows - a montage of fragments. Writing is still confined to the representational straitjacket of the novel ... consciousness is a cut up. Every time you walk down the street or look out of the window, your stream of consciousness is cut by random factors."
Julio Cortazar, Composition (1964)
Sulla confezione: “TANTI ROMANZI QUANTI SONO I LETTORI. L’ordine delle pagine è casuale: mescolandole, a ciascuno il “suo” romanzo”. Nella prefazione all’edizione originale, Saporta avverte: “Il lettore è pregato di mescolare queste pagine come un mazzo di carte. Di tagliare, se lo desidera, con la mano sinistra, come si fa da una cartomante. L’ordine con il quale le pagine usciranno dal mazzo orienterà il destino di X. Infatti il tempo e l’ordine degli avvenimenti regolano la vita più che la natura degli avvenimenti stessi”.
Calvino, Le lezioni americane:
Descrive l'iperromanzo come:
- luogo "d'infiniti universi contemporanei in cui tutte le possibilità vengono realizzate in tutte le combinazioni possibili";- dove può valere "un'idea di tempo puntuale, quasi un assoluto presente soggettivo"
- dove le sue parti "sviluppano nei modi più diversi un nucleo comune, e che agiscono su una cornice che li determina e ne è determinata";
- che funziona come "macchina per moltiplicare le narrazioni"
- "costruito da molte storie che si intersecano"
Italo Calvino, Se una notte di inverno un viaggiatore
Italo Calvino, Il castello dei destini incrociati
OULIPO >> Op.Le.Po Opificio di letteratura potenziale
George Perec, Vie mode d'emploi
Georges Perec - Interview https://www.youtube.com/watch?v=AwMTvi3XdPU
Borges, Il sentiero dei cammini che si biforcano
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Jeffrey Shaw: Legible City, Responsive Environment 1988-91
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