Notes and Quotes
Alexandra Saemmer
(beginning on page 163)
The Dreamlife of Letters: http://collection.eliterature.org/1/works/stefans__the_dreamlife_of_letters/the_dream_life_cleaned.html
Digital literature is
continuously changing, gradually discovering its specific potential (163).
Texts are regarded as
paintings and paintings can be read (163).
French critics refer to
pre-hypertextual structures that seem to suggest hypertextual adaptations (163).
“Everything happens as
if, with multimedia, literature had finally found the technical devices it
suggested and required long before” (163).
Not sure I agree with this, but it’s very
poetic and thought-provoking.
“Nouveau roman,” first
paragraph on page 164. Can we discuss this in class?
The first electronic text
generators nevertheless seem tightly linked to the rules that human beings
impose on them (165).
The “virtual”
unpredictable dimension in electronic texts (165).
We have a lot of this going on being unable
to access works.
The operation of digital
literature on computer screens is always conditioned by the “intentionality of
the computer” (165).
Now that digital
literature seems more and more aesthetically convincing, the time has come to
define its stylistic features with more precision (165).
Main purpose of essay?
It is not the clicking
gesture that transforms interaction into a figure. It is the relationship
between the gesture, the media content, and the media content appearing after
the gesture (166).
The style of digital
literature is partly based on a discrepancy between the reader’s expectations
and the realized events on the screen (166).
Possibly one reason why they all seem to
avoid the narrative arc? Would a narrative arc remove a piece of work from the
category of digital literature?
Two distinct “aesthetics
of frustration”: the resistance of the
work against the readers’ habits/expectations and any bugs in the system being
used (167).
Retroprojection—the term
proposed to characterize the space metaphors described on the end of page 167
to the beginning of page 168.
The semiotic approach has
helped to refine the concept of incongruity essential in the definition of a
figure (168).
One of the most
conventional relationships between a hyperlinked word, a manipulation gesture
and an activated content consists in providing an explanation of the word
(169).
The repetitive use of
hypertext links creates the illusion of a recaptured past in Explication de
texte (170).
In The Subnetwork, neantisms and incubations contribute to building a complex
metaphor, suggesting similarities between memory and digital network (171).
Multiplication of pop-up
windows on the screen can be considered allotropic (172).
Media figures vs. a-media
figures—top of page 173.
The Dreamlife of Letters: Edward Picot does not consider it as an
avant-garde work. James Mitchell argues that the methods of traditional
literary analysis would not be effective to interpret this poem. Marjorie Perloff
says it should be considered as lettrist. Philippe Bootz says it refers to
kinetic poetry. Lori Emerson thinks the reader plays, above all, a passive
roll. N. Katherine Hayles asserts the morphemes and phonemes of this poem are
charged with “eroticized graphic imagination” (173).
Kinetic allegories should
not be confused with moveie-grams (177).
The interactions of all
these figures of animation constitute a kinetic allegory (177).
Saemmer defends the
existence of kinaesthetic rhymes in The
Dreamlife of Letters (177).
No comments:
Post a Comment