Numer 3 (33) 2017

2017

Data publikacji: 11.12.2017

Opis

Wydanie publikacji dofinansowane przez Polską Akademię Nauk oraz Wydział Zarządzania i Komunikacji Społecznej Uniwersytetu Jagiellońskiego. Wydanie publikacji jest wynikiem grantu nr 3bH15017583 finansowanego przez Ministerstwo Nauki i Szkolnictwa Wyższego w ramach Narodowego Programu Rozwoju Humanistyki realizowanego w latach 2017–2019.

Licencja: CC BY-NC-ND

Redakcja

Redaktor numeru Monika Górska-Olesińska

Zawartość numeru

Literary Practices and Performanes in Transmedia Environments: Introduction to the Special Issue

Monika Górska-Olesińska

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 1 - 1

https://doi.org/10.4467/20843860PK.17.021.7791

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From „Shiftbooks” to “Shiftliterature”. Categories of Literary Interfaces and Liberacy in Characterizing Literature of Transmedial Times

Agnieszka Przybyszewska

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 311 - 333

https://doi.org/10.4467/20843860PK.17.022.7792

In this paper, the theory of “liberacy” is understood in the context of various other theories that might fall under the umbrella term of “textual materialism.” At the same time, Porczak’s concept of shiftart is tested to characterize this specific kind of literature. Firstly, Przybyszewska shows that, in this context, the concept of shiftart is useful because it grabs and vividly depicts a shift in literary communication which is underlined by all theorists of textual materialism. Thus, liberary work is described in the paper along with the synonymous term shiftbook. The second part of the article turns to the works of Milorad Pavić. Some other examples are used to examine how the material (shift)book can function as an interface for non-linear writing; something that works even better that any electronic interface. The last part of the paper develops this question in a broader context: it concentrates on the problem of untranslatable material literary interfaces and the differences between electronic and material versions of (shifted) books.

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Textual Caves: Expanding the Literary Writing Space

Piotr Marecki

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 334 - 349

https://doi.org/10.4467/20843860PK.17.023.7793

Marecki discusses three textual caves created by Polish concrete poets: Stanisław Dróżdż’s Między (1977); Małgorzata Dawidek Gryglicka’s Krótka historia przypadku (1997); and Dróżdż’s Żyłki (2002). The medium of all three works was a white cubicle placed in a gallery. Each piece played with the corporeality of the viewer and their experience of networked space, expanding the concept of writing space in literature. Między is an original work of international importance, whereas the two later caves are re-mediations, recycled variations of the original subject. The true innovation of Między is the idea to place text in a space beyond the page, picture or gallery wall. Dróżdż’s break with tradition created a networked piece; the body of the viewer is physically inscribed on the work when he or she enters it. Dawidek’s installation, created two decades later, has been called a hypertext in space. Therein, the artist incorporated new physical solutions, including links to the lexias, which were written by hand and glued to the walls. Dawidek thus nuanced the use of corporeality in her work, which was designed for a particular space (the viewer moves through the book by following physical links; for instance, when the text mentions exiting, the viewer actually follows a link towards the door). Finally, Dróżdż’s 2002 work Żyłki constitutes another step forward. In a similar manner to Dawidek, the artist used physical links. By placing the work in the space that was occupied by Między back in 1977, he thus recycled his initial medium. Marecki utilizes tools for describing the nature of the writing space developed by thinkers like J.D. Bolter and applies Zenon Fajfer’s concept of “Liberatura” to develop a media-specific analysis of these three textual caves, as well as the intertextual relations between them.

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Space and Landscape in Hearts and Minds: The Interrogation Project – Uncomfortable Proximities

Anne Karhio

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 350 - 363

https://doi.org/ 10.4467/20843860PK.17.024.7794

This article focuses on the panoramic digital work Hearts and Minds: The Interrogations Project, and examines how it uses immersive audiovisual experience to examine the relationship between narrative memory, space and landscape. It argues that the spatial aesthetic of the work forces the audience members, the artists, and the narrators to interrogate their own conflicted positions in relation to the narratives of military power and torture. Hearts and Minds engages with visual perspective and space, and focalization through individual human voices, to consider agency, victimhood, witnessing and trauma, and does this in a manner that denies its audience a detached position from which to observe the events set in its digitally created environment.

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Loss of Hover: Recreating Shockwave Vniverse as an App for iPad

Stephanie Strickland , Ian Hatcher

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 364 - 371

https://doi.org/10.4467/20843860PK.17.025.7795

V appeared in 2002, distributed across an invertible two-in-one print book from Penguin, V: WaveSon.nets / Losing L’una, and two online locations: the first, V: Vniverse, a Director project with Cynthia Lawson, and the second, Errand Upon Which We Came, a Flash piece with M.D. Coverley. The print book contained at its center the url for the Vniverse site.

This print book was re-issued February 2014 in a new edition by SpringGun Press as V: WaveTercets / Losing L’una. The truncation from Son.nets to Tercets was driven by limitations and affordances that we encountered as we set out to modify the Vniverse Director project to run as an app on iPad. The original Vniverse was created, not using Director’s timeline, but all in one frame. This choice took advantage of the speed of imaging Lingo to control both animation and interaction, permitting swift gestural command of the appearance of language emerging without lag from “the sky.” Since mobile devices support an entirely different suite of gestures, we needed to re-implement Vniverse as an app for a smaller screen and a different gestural repertoire.

The re-education of hand and mind, the gestural translation, that such a project entails is our focus in this article which addresses the loss of hover as gesture, the loss of location—a point is no longer a place—and the loss of overview, or revelation, as sweeping gestures no longer reveal, but re-scale. Emotional coloring is shifted when exchanging a click for a tap imposes a required time-delay, when an expansive swing-sweep of mouse is substituted by contractive pinch-zoom, or when legibility can be gained only through granulation (losing the sense of fades between whole poems against which active sky stars can be activated), or through text compression and/or suppression (son.nets to tercets). These losses are in part compensated by other gains.

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Night of the Owls: Defining Transmediality as an Analytical Tool for Reconstructing Comic Book Mythology

Tomasz Żaglewski

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 372 - 389

https://doi.org/10.4467/20843860PK.17.026.7796

In recent years, “transmedia storytelling” has become a handy term to describe certain types of popular narrative. While this term is now crucial to many areas of media studies, Żaglewski offers a challenge to the common, and often rather shallow, understanding of transmediality. He questions the very idea of transmediality and in particular its multimodal character. The basis for such an effort is modern comic book studies, and more specifically, the highly successful Night of the Owls story arc from the Batman universe. Żaglewski adapts the theoretical design of transmedial storytelling for at least two purposes: Firstly, he seeks to define the multi/transmediality of comics themselves, which can be seen in the unity of words and images. Secondly, he offers a new understanding of the enormous superhero-driven storylines that are an important feature of contemporary comic books (along with all of the associated retcons, reboots, crossovers etc.). Such story arcs are now presented as an important example of transmedial storytelling that takes place within a single (trans)medium. Exploiting a method that might appear to be paradoxical, Żaglewski opens up the definition of transmedial storytelling by limiting his discussion to a single medium: the comic book.

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From a Biosignal to Xenotext: The Affective Dimension of Textuality in Postdigital Art Projects

Ewelina Twardoch-Raś

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 390 - 414

https://doi.org/10.4467/20843860PK.17.027.7797

With reference to the categories of affectivity and intentionality, the Author considers some of the various research perspectives that can be brought to bear upon the category of literariness in biotextual projects. She therefore introduces the concepts of “technotext” (Hayles), “physio-cybertext” and “biopoetry” (Kac), and “partly non-discursive affectivity” (Knudsen and Stage). The author primarily considers the role of non-human actors in constructing biotextual projects; this includes bacteria and other living cells that display the kinds of goal-oriented behavior (or intentionality) that bring about causal changes in biotextual works. Moreover, non-human actors are considered to be a physiological, affective force capable of altering the physical shape of such works. Introducing her own concept of “inside-body actors” (meaning the functioning of the body’s organs, hormones and other biochemical changes in the organism), the Author demonstrates how these “actors” are crucial to the medium. Her article presents three examples of (trans)literary works that were created in a corporal, affective and biological context: The Breathing Wall by Kate Pullinger (with Stefan Schemat and Chris Joseph); Diane Gromala’s BioMorphic Typography (part of a larger scientific and artistic initiative entitled “Design for the Senses”); and Christian Bök’s Xenotext. This last example is one of the most recent works to combine digital text with the biological functioning of microorganisms in a constantly evolving process.

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Literature, Art, Artificiality: Post-media Relations in Goldin+Senneby’s Headless

Ewa Wójtowicz

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 415 - 429

https://doi.org/10.4467/20843860PK.17.028.7798

Wójtowicz focuses on post-media art strategies and the manner in which meaningful relationships are both built up and undermined by such artworks (this includes literature and the visual arts, as well as performative and interdisciplinary works, and potentially interactive narratives as well). Multidirectional relations are established between the realms of narrative, literary fiction and two parallel realities: the world of everyday life and the space of electronic information. The main case study is Goldin+Senneby’s Headless (2007-), which is comprised of a book, a ghostwriter, a blog, an exhibition, a docu-fictional narration and an academic analysis with some speculative elements. This (art)ificial narrative has begun to operate in real life, leaking beyond the boundaries of the artwork. Borrowing Angus Cameron’s term, this creates a “xenospace”, a concept that is connected to the ideas of Georges Bataille. Further case studies consider works by Tyler Coburn and James Bridle. Wójtowicz demonstrates how contemporary post-media artists have abandoned their “natural” sphere of visuality. In so doing, they have begun to operate within the realm of language, code, literature, and theoretical discourse. They also exploit certain temporal strategies, such as the moving image, performance and spectacle.

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An Essay on Electronic Literature as Platform

Urszula Pawlicka

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 430 - 444

https://doi.org/10.4467/20843860PK.17.029.7799

Electronic literature has expanded its limits, going beyond issues of definition, genre, and poetics, and developing into something more than literature. The goal of this paper is to address problems related to the discussion and meaning of electronic literature, something that elides a precise definition and clear-cut boundaries. Pawlicka’s article is based on the conviction that electronic literature has developed from a field that was institutionalized by the Electronic Literature Organization into a set of practices. The first part reflects upon changes in electronic literature, changes that compel researchers towards new considerations. This section refers to questions posed by N. Katherine Hayles and Dene Grigar and leads to a vital question, “Electronic Literature: How Is It?”. The question of “how” suggests a shift towards the idea of process; a fresh perspective is implied, one that is related to notions of action, practice, and application. This paper therefore introduces an innovative approach to researching electronic literature, namely a processual approach that is open to changes, revisions, and explorations. It in turn goes far beyond seeing electronic literature as simply a narrow field of literature within digital culture. Instead of that, it offers a new perspective on electronic literature, which is considered as a platform for digital research, textuality, art, and other forms of expression. These ideas are covered in the last part, which presents electronic literature as a platform for textual, artistic, and technological experiments, undertaken by writers, artists, designers, and programmers. This incorporates digital creative writing and creative programming, as well as trans/interdisciplinary research.

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Media Archeology Lab: Experimentation, Tinkering, Probing. Lori Emerson in conversation with Piotr Marecki

Przegląd Kulturoznawczy, Numer 3 (33), 2017, s. 445 - 452

https://doi.org/10.4467/20843860PK.17.030.7800

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