- Oct 2015
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openspace.sfmoma.org openspace.sfmoma.org
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the deep structure of the text/algorithm interaction inherent in all digital textuality — those places where the mathematical underpinnings of text as it appears on the screen (since there is always something at work keeping the text you are reading now visible) and how artists exploit them to create unique effects.
This idea differs from the other definitions as it focuses on the structure of the created e-lit rather then the art form. The underpinnings are based on the "text/algorithmic interaction inherent in all digital technology". This then is the basis of an understanding of e-lit, it barest form, the structure upon which it was created.
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www.dichtung-digital.org www.dichtung-digital.org
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we lack a reliable way of filtering out current uses of “electronic literature” that do not refer to literary works using computation. It is also likely that many books that use one term also use another
The argument Jill Walker Rettberg is making is that it is impossible to quantify how many works of e-lit are available at any given time, and even seems to argue that, to a point, a true definition of e-lit can't be obtained. What one person accepts as e-lit, may not be agreed upon by another individual. What is at stake is the inability for a true and thorough definition of e-lit.
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dtc-wsuv.org dtc-wsuv.org
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"literary works created with the use of a computer for the electronic medium such that they cannot be experienced in any meaningful way without the mediation of an electronic device"
This, to me, is the most important aspect in what makes e-lit, e-lit. It can't be fully experienced and understood outside of the digital medium.
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eliterature.org eliterature.org
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Electronic literature often intersects with conceptual and sound arts, but reading and writing remain central to the literary arts.
I find this statement interesting as there are those who believe that sound art can itself be a type of electronic literature. Sound art at its most basic level is narrative. Our human ancestors needed sound to survive, and the first traditions of storytelling were aural.
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