- Florian Cramer (Creating 010, Rotterdam University of Applied Sciences)
- Johanna Drucker (University of California, LA)
- Matthew G. Kirschenbaum (University of Maryland)
- Paulo Franchetti (Unicamp – Universidade Estadual de Campinas)
- Susan Schreibman (National University of Ireland, Maynooth)
Post-Digital Literary Studies
What will literary studies be once the newness of its digitization has worn off and practical limitations of humanities computing have become evident? What can be learned from the achievements and failures of information aesthetics and computer poetics in the 1960s and 70s? Could the “post-digital” and “post-Internet” tendencies in music, graphic design and visual arts hint at future tendencies in literature and literary studies? This lecture is a speculative scenario, sketched by an outsider to literary studies.
Florian Cramer is a reader at the Creating 010 research center of Rotterdam University of Applied Sciences where he is affiliated to Willem de Kooning Academy and Piet Zwart Institute. He lectures and publishes on topics at the fringes of the arts, information technology and politics, with a focus on contemporary practices outside the dichotomies of old versus new media and fine art versus applied art. He also works for WORM, a Rotterdam-based venue and production house for DIY avant-garde culture where he helps in the organization of zine fests, Crypto Parties, an artist-run 8/16mm film lab, and (under the lead of Rasheedah Phillips) an Afrofuturist festival. Most recent publications: Anti-Media (NAi010, 2013), What Is Post-Digital? (http://www.aprja.net/?p=1318, 2014).
What is a bibliographical object in a distributed digital environment? What are the challenges in developing a bibliographical description of digital artifacts and how could these be addressed using post-colonial theories of knowledge production? When we try to apply traditional analytic or descriptive approaches to bibliography to digital artifacts, it quickly becomes clear that they are not “objects” in the analogue sense. Digital objects are constituted at the intersection of multiple dependencies—from file types and platforms to bandwidth, browser capabilities, and processing speeds to social and cultural conditions of production and reception. This talk draws on various models of bibliographical study and approaches to the history of the book to suggest some ways a general practice of digital bibliography might be developed.
Johanna Drucker is the Breslauer Professor in the Department of Information Studies at UCLA. She has published and lectured widely on topics related to digital humanities and aesthetics, visual forms of knowledge production, book history and future designs, graphic design, historiography of the alphabet and writing, and contemporary art. Her most recent titles include the jointly authored Digital_Humanities (MIT, 2012) with Anne Burdick, Peter Lunenfeld, Todd Presner, and Jeffrey Schnapp; SpecLab: Projects in Digital Aesthetics and Speculative Computing (Chicago, 2009). A collection of her essays, What Is? was published by Cuneiform Press in 2013 and Graphesis: Visual Forms of Knowledge Production appeared in 2014 in the Harvard University Press MetaLab series. In addition to her academic work, Drucker has produced artist’s books and projects that was the subject of a retrospective, Druckworks: 40 years of books and projects, initiated at Columbia College in Chicago.
“I suppose that my fiction will be word-processed by association, though I myself will not become a green-screener,” John Barth told the Paris Review in 1985. But just a few years later he did, not only switching to a word processor but exploring the machine as a subject in subsequent fiction. This lecture, drawn from my forthcoming book Track Changes: A Literary History of Word Processing, interweaves a narrative of word processing’s introduction to the literary world–we will see that Barth’s story, both his abrupt turn-around and his fear of guilt by association is typical–with a consideration of practical problems in doing research at the intersection of literary and technological history, especially the changing nature of the archive as primary source material becomes itself “born-digital.” Along the way we will take a look at Stephen King’s Wang, John Updike’s trash, and the 200-pound writing machine that produced the first word processed novel in English.
Matthew G. Kirschenbaum is Associate Professor in the Department of English at the University of Maryland and Associate Director of the Maryland Institute for Technology in the Humanities (MITH, an applied thinktank for the digital humanities). He is also an affiliated faculty member with the College of Information Studies at Maryland, and a member of the teaching faculty at the University of Virginia’s Rare Book School. His first book, Mechanisms: New Media and the Forensic Imagination, was published by the MIT Press in 2008 and won the 2009 Richard J. Finneran Award from the Society for Textual Scholarship (STS), the 2009 George A. and Jean S. DeLong Prize from the Society for the History of Authorship, Reading, and Publishing (SHARP), and the 16th annual Prize for a First Book from the Modern Language Association (MLA). Kirschenbaum speaks and writes often on topics in the digital humanities and new media; his work has received coverage in the Atlantic, Slate, New York Times, The Guardian, National Public Radio, Wired, Boing Boing, Slashdot, and the Chronicle of Higher Education. His current book project is entitled Track Changes: A Literary History of Word Processing, and is under contract to Harvard University Press (forthcoming 2016); with Pat Harrigan, he is also co-editing a volume on wargaming for MIT Press entitled Zones of Control (forthcoming 2016). He is a 2011 Guggenheim Fellow. See http://www.mkirschenbaum.net for more.
Em meados do século passado, João Cabral de Melo Neto abordava, em conferências antológicas, um dilema da lírica contemporânea, segundo ele dividida entre a “de expressão” e a “de construção”. Na sua reflexão, os dois modos líricos eram mediados pela questão mais urgente da época, que era a função da poesia, uma vez que “o leitor moderno não tem a ocasião de defrontar-se com a poesia nos atos normais que pratica durante sua vida diária”. Sessenta anos depois, vê-se a constituição de um novo universo de consumo, divulgação e mesmo de produção de poesia – que são as redes sociais e os blogs (que se sobrepõem aos já antigos fóruns e listas de discussão). Minha intuição é que algumas funções tradicionais da lírica estão em processo de mudança ou ressignificação profunda, dado o acesso universal a textos clássicos, a programas de tradução automatizada e, principalmente, à possibilidade de construir rapidamente blocos de leitores, agrupados por perfis e por interesses específicos, e de interagir imediatamente com eles. É essa intuição que testarei na minha comunicação.
Paulo Franchetti aposentou-se em 2015 como Professor Titular do Departamento de Teoria Literária na Universidade Estadual de Campinas (UNICAMP). Atua na área de Letras, com ênfase em Teoria Literária, Literatura Brasileira dos séculos XIX e XX e Literatura Portuguesa do século XIX. É pesquisador nível 1 do Conselho Nacional de Desenvolvimento Científico e Tecnológico do Brasil e seu projeto atual versa sobre a lírica brasileira contemporânea. De 2002 a 2013 dirigiu a Editora da Unicamp. Publicou, entre outros, os livros Alguns aspectos da teoria da poesia concreta (Campinas, 2012), Haikai – antologia e história (Campinas, 2012), Estudos de literatura brasileira e portuguesa (São Paulo, 2007); O essencial sobre Camilo Pessanha (Lisboa, 2008) e Nostalgia, exílio e melancolia – leituras de Camilo Pessanha (São Paulo, 2001). Também é autor de quatro livros de poemas – Memória futura (2010 ), Escarnho (2008), Oeste (2008) e Deste lugar (2012) – e de uma novela – O sangue dos dias transparentes (2002).
Ireland is currently in the opening years of what has been billed The Decade of Centenaries, or The Decade of Commemoration. This decade, from 1912-1922, marks a violent and disruptive period, politically, socially, and creatively, cumulating in Irish independence from the United Kingdom, followed by a bloody Civil War. 1916 is seen as a turning point in Irish politics: not only were many thousands of Irish fighting in the Great War with the British army, many at home took up arms against that army during the Easter Rising. The Letters of 1916 is a crowd-sourced digital humanities project that is creating ‘a year in the life’ of Ireland, as well as how Ireland was perceived abroad, by collecting letters – any letter—about Ireland. This talk will explore the methods and politics of creating such as collection which is being positioned technically at the intersections of digital scholarly editing and big data.