Electronic Literature Artistry
Deciding to explore electronic literature artistry was an easy decision seeing as though access to its components was readily available and searchable due to modern advents of technology. Compilations of great works of digital literature art Electronic literature is beneficial in many ways. Most of the forms of digital composition creatively developed is instantly available for free. Availability of digital art increases by the day. More and more software developers, artists, poets, authors transcribe literary works into creative computerized form.
This statistic shows global e-book revenue from 2009 to 2016, broken down by region. In 2010, e-book revenue in North…www.statista.com
Qualitative measurement present international electronic publication revenue from 2009 to 2016, categorized by territory. In 2010, electronic publication in North America aggregated a net profit of 1.2 billion United States dollars.
Questions regarding the legitimacy of electronic literature as an art form exist. Questions altogether encompass what constitute art form…as well as literature…. and what characterizes electronic literature?
Plenty have written on the definitions of art, literature and electronic literature and guess what? The answers vary a great deal. Not only that but some seem to suggest all and nothing is the same which almost has a philosophical element to this notion. Just attempting to answer the question what is art would detract from the overall benefit of explaining electronic literature attributes. Maybe the origin of electronic literature is a bit more exciting than attempting to explain its definition. Even more interesting is perhaps…
how exactly did electronic literature begin in the first place?
With Google’s Ngram Viewer, we can graph the frequency with which alternate terms for electronic literature utilized in books published between 1969 and 2008. The light blue line shows electronic art, the blue electronic literature, the purple hypertext fiction, the orange digital poetry, the green digital literature, the purple e-poetry and the red is for e-lit. As anticipated, the term “electronic art” (the light blue line) was the more popular term in 2007, but it also had maintained its preeminence in 2008. Showing that the term “electronic literature” has ultimately gained acknowledgment, and it appears the culmination of definitions are increasing. It is alluring to bear witness to how the terminology that has remained, even after all the advancements and changes in technological growth. It’s also interesting to see the sharp elevation in the rise of digital poetry” as well.
What’s electronic literature? Who’s creating electronic literature?
I am an electronic literature contributor, creating electronic literature. If you have ever held a haptic or kinetic device in hand, sent a message, shouldn’t that create some form of electronic literature?
Cyber Poetry, Electronic Poetry, E-Poetry, Digital Poetry.
Any computer generated poetry or literature
- Integrate text with technology
- Computers and words combined
- Similar to concrete, sound and performance poetry
- Interactive, in many cases incorporating some art form
- Existing balladry formats may be redefined, creating a modern form of electronic expression
- Digital creation using a keyboard or electronic component
- Software and electronic tools utilized to manipulate, create sounds or images
- Similar to concrete, sound and performance poetry
- In many cases incorporating some art form
- Digital creation utilizing keyboard to a computer screen
- Software and electronic tools used to manipulate, create sounds or images
Computer technology is key focuses amongst definitions
- Communicator and authoritative audience paradigm are interchangeable
- Audience may become creator
- Blogs, podcasts, social web technologies are examples of media used
New Media Electronic Literature; Digital Poetry Example
P.o.E.M.M. = Poetry for Excitable [Mobile] Media
The P.o.E.M.M. circuit is an array of reciprocated touch text-gadgetry about constructing an understanding of wacky communication.
Aggregation of the constituents in the P.o.E.M.M. revolution employ the investigation of in what way or manner we communicate with each other, in what way or manner we discover ourselves in broad artistic perspectives. The way or manner we validate ourselves despite our beliefs and that of others, and in what way or manner elements previously recognized as so indispensable — so vital — can next be observed as conditional.
The series, when finished, will include ten captivating “touchworks.” Each segment presents both extensive variants useful for gallery or art expositions, as well as mobile application versions for individual use. Furthermore, all the segments also contain extensive printworks. The mobile applications fashions five consecutive variants.
Mobile Applications Variants
1. Mobile: Mobile variant of initially demonstrated piece.
2. Anthology: five poets are encouraged to construct original texts and modify the application for their quatrains.
3. Platform: The user can compose their content or adopt a Twitter feed as the contents authority to design their content.
4. Share: The user can present content they produce with alternative possessors of the application.
5. Open: Cryptography for the application is available through an available source license.
Theres the argument that technology to some degree distance individuals from the world around them. Does interactivity occur when a sensor that senses the heat or pressure of the finger when pressed transmitting a response to the microprocessor of the electronic device? The transmission of the microprocessor receptivity from that of the human finger and brain is like an extended counterpart of the human. An actual connotative explanation for such a sequence is perhaps beyond the confines of modern language. Engagement whether on a kinetic or haptic device to some may be considered interactive. The electronic component utilized during enactment allow the individual to drive digital reciprocity. Giving the person the power to create and interact. Processes involved in electronic, biological and physical reactions to generate digital content correspond in ways in which information computerize from the human brain.
Essentially how can the letters digitally exist without its human counterpart to type it by pressing something as abstract as a screen or key on a keyboard?
The existence of a letter is digitally made up in a computer from, reflected from the creation of the individual, so that is observable visually. Simple text messages are comparable to an artist holding a paintbrush to a canvas. Only, with electronics its more sophisticated.
Electronic literature traditional incorporate interactive content utilizing original script components such as fonts, conversation, scheme, illustration, and locale.
Creation digitally by definition doesn’t seem to quell the insatiable and extensive pronouncement of the form. Traversing occurrences in the moments of intellectual engagement. The best way to describe it is the transmission of human intelligence to digital form. In the time it takes to create a digital exchange, the time evaporates for the individual almost as if separating them from the world that exists around them. Participation in the electronic sphere as opposed to natural it would seem is an appropriate approach to understanding how electronic literature develops. Electronic literature art form suggests the medium handle for the connection to creativity, should be regarded as the obvious. So, does the mediums distinct placement function by unforeseen electronic literature proclivities?
In consonance with Lister, M. et al. (2009),
“The experience of interacting with and controlling a computer, primarily through play, would link user and machine in the spare bedroom with the historical forces of the information revolution” (pg 290).
The creator (writer) manifestation of words seen as words, justified as vernacular in the sense of authentic expression to engage artists like us. The world encompasses a significant amount of literature transferred electronically. The creator decides whatever they wish to write (type) incorporating the individual’s independent thoughts and arrangement of expression and story, communicating and digitally illustrating. Thoughts occurring that’s transformed into typing unrestrained enable disembodied composition.
Scholarly Publishing Schematics
These two graphs illustrate electronic literature dissertation conversion in the types of compositions examined. Single alternative genre review for unique dissertations approach an apparent evolution approaching digital poetry.
Publishings between 2009 and 2013 denote a clear transition in for the latter collection of dissertations. Blue dots indicate 24 dissertations. Emphasis lie on two apparent classes of poetry (mostly poetic installations, kinetic poetry). Web content and electronic literature foundation are cultivated by Cammille Utterbacks Text Rain (1999) and Jermey Shaw’s The Legible City (1989), reflected concerning 2011 dissertations by Fabio De Vivo and David Jhave Johnston. Schematics advantages and disadvantages are emphasized by the presence of contrived category by only two dissertations. An obvious category for interactive fiction remains although is apparently dwindling.
Electronic literature considered intertwined with art to observe and appreciate the richness of thoughts, an inner dimension of cognizance riddled with streams of data much more bombastic than our electronic counterparts. According to Lister, M. et al. (2009), “Taste and preference, self-presentation and performance in popular technoculture are inseparable from the embodied nature of technical expertise and dexterity” (Pg 276).
So now begs the question,
whether it is common knowledge that everyday unbeknownst to fellow handheld and computer users, exist the creation of electron literature thanks to the digital contributors or creators?
There is also the,
question of whether the progression of technology has eliminated structural expectations in prehistoric poetry?
As mentioned by Art in itself is formless, and some may consider electronic literature formless, flowing just like the river of life we wish to create.
New Media Electronic Literature; Digital Poetry Interactivity
In conclusion, whether digitally, poetically or artistically we all create and are in ourselves works of art. In agreement with Sauter,
“The ease of access to these tools for most in the developed world, and the immediacy with which others respond to, and thus, guide modern self-writers adds a new facet to the age-old practice of self-formation” (833).
The exchange and interaction whether it be with haptic devices or physically; are indeed poetic and the highest form of art to reconcile.
“Google Ngram Viewer.” Google Ngram Viewer. Web. 28 May 2016. <https://books.google.com/ngrams/graph?content=electronic literature,e-poetry,digital literature,digital poetry,hypertext fiction>.
Grigar, Dene. “DTC 354 Digital Storytelling.” MAG-ZEEN. 2011. Web. 28 May 2016. <http://nouspace.net/dene/354/354/index.html>.
Rettberg, Jill Walker. “The Shift in Genres of Electronic Literature 2002–2013.” Jilltxt. 2014. Web. 28 May 2016. <http://jilltxt.net/?p=3935>. I’m Jill Walker Rettberg, professor of digital culture at the University of Bergen. Blogging here since October 2000.
“Global E-book Revenue from 2009 to 2016*, by Region (in Million U.S. Dollars).” Statista. Statista, 2016. Web. 2016. <http://www.statista.com/statistics/280249/global-e-book-revenue-by-region/>. Additional Information: Worldwide Source: PwC
Lewis, Jason Edward, and Bruno Nadeau. Poetry for Excitable [Mobile] Media. Digital image. Poemm. Jason Edward Lewis & Bruno Nadeau. Web. <http://www.poemm.net/credits.html>.
Lewis, Jason Edward, and Ellie Zananiri. “No Choice About the Terminology at Vital to the General Public Welfare 1 HD.” YouTube. YouTube, 04 May 2016. Web. 23 May 2016. <https://www.youtube.com/watch?v=S3jgUs3oqIY>. No Choice About the Terminology is the 5th work in the P.o.E.M.M. Cycle (poemm.net). Obx Labs Text & Design: Jason Edward Lewis / Obx Labs (obxlabs.net) Software Development: Elie Zananiri (silentlycrashing.net) Category People & Blogs License Standard YouTube License
Lewis, Jason Edward, and Elie Zananiri. “No Choice About the Terminology at Vital to the General Public Welfare 2 HD.” YouTube. YouTube, 04 May 2016. Web. 23 May 2016. <https://www.youtube.com/watch?v=HIFcwMTAfyM>. No Choice About the Terminology is the 5th work in the P.o.E.M.M. Cycle (poemm.net). Obx Labs Text & Design: Jason Edward Lewis / Obx Labs (obxlabs.net) Software Development: Elie Zananiri (silentlycrashing.net) Category People & Blogs License Standard YouTube License
Lewis, Jason Edward. Speak by Jason Edward Lewis. Digital image. ITunes. Apple Inc., n.d. Web. 11 May 2016 <https://itunes.apple.com/ca/app/speak/id406078727?mt=8&ign-mpt=uo%3D4>.
Lister, Martin. New Media: A Critical Introduction. London: Routledge, 2009. Print.
Sauter, Theresa (2013) New Media & Society. What’s on your mind? Writing on Facebook as a tool for self-formation.