Agnieszka Przybyszewska

The article is focused on the problems of preserving electronic literature. Authors discuss challenges they faced while documenting and preserving Kate Pullinger’s digital fiction works for The NEXT: Museum, Library, and Preservation Space for electronic literature (the leading space for archiving, documenting, and presenting electronic literature of the past) and for the artist’s online repository. They characterize the existing methodologies of preserving digital literary works and their pros and cons and report how they were used while working with Pullinger’s digital literary heritage. The argument is illustrated with an analysis of examples of reconstructions undertaken within the research project that made the creation of both Pullinger’s repositories possible, as well as detailed case studies and visualizations of the newly-created repository.

especially in the context of experimental translation theory. Two main questions the author deals with are: should e-lit translation always be seen as an experimental one, and what does it, in practice, mean to translate interactive and multimedia work? The last part of the article offers a broader perspective on the field: reflections on trans-platform translation as a kind of digital literature preservation and on the problems of platform liability or programming obsolescence.

Tekst powstał w ramach stypendium NAWA w programie im. Bekkera (numer umowy PPN/BEK/2019/1/00264/U/00001).

This paper offers a close reading of site-specific audio installation Data Urns (by Daniel Huber) and audio-walk Her Long Black Hair (by Janet Cardiff) in context of works created as corporeal and haptic experiences in different media. Used methodology is inspired by a new media and theatrical research as well as the traditional literary studies. Author uses category of dramatic monologue as a key to analyse literary aspects of characterized works and proposes the category of locative dramatic monologue as more useful in context of not-only-verbal immersive narratives. The goal of analysis (in which the category of haptic and exploratory reading is developed) can be also described as looking for possibilities of readapting traditional analytic tools in new (media) contexts as a way of postulated renewing of poetic of literary work.

Przekaz digitalny. Z zagadnień semiotyki, semantyki i komunikacji cyfrowej, red. Ewa Szczęsna,seria Projekty Komparatystyki, Universitas, Kraków 2015, ss. 404

The aim of this article is to study (mainly but not only) literary works that “borrow” users/readers bodies in order to create immersive memory spaces, i.e. that engage haptic interactions with texts as the sine qua non of entering the narrated story-worlds. To depict the broader context authors characterize the general strategy of immersion based on haptic experience of the work (metaphorically described as “borrowing of the user’s body”), seen in various media and different forms of storytelling, from traditional literary second person narratives to VR/XR experiences. Then authors focus on two e-literary examples (WuWu&Co and Maginary) in order to analyse how the reader’s gestures or his/her whole body can be incorporated into the act of reading. The purpose of introducing aforementioned case-studies is to point out the importance of elaborating actual discussions on haptic poetics of e-literary works. The paper ends with a close reading of Pry (by Samantha Gorman and Danny Cannizzaro), the case study that provides a perfect example of “borrowing e-reader’s body” in order to immerse him/her in the memory space that is co-created by the protagonist’s memories and the reader’s gestures.

The aim of the paper is to define and to characterize the playable literature. The relation between the playability and the text’s structure projected by its author is strongly stressed, alike the performative character of this kind of texts. The emphasis is also put on the connection between the category of the playability of the literature and its materiality (in context of K. Hayles’s theory of technotext and J. Pressman’s concept of aesthetic of bookishness among others). The author shows transmedia history of the playable texts and at the same time analyzes relation of literary playability with the modern culture and the newest tendencies in HCI creation. Theoretical approach is supplemented by some analysis of B. Ortiz Moreno’s and J. Andrews’ works connecting playability and literacy in really creative way. The final part of the paper reveals also some statements on Polish playable literature.

This paper focuses on arts responses to the first two months of COVID-19 pandemic in 2020. Author presents examples of COVID-inspired/caused works in different fields (literature, film, interactive media, performance and visual arts), but the main problem analysed in the article is how the art that engages (“borrows”) its users bodies, especially the one that should be characterized in context of haptic aesthetic and participatory culture, can function in new, pandemic situation. Particular examples of COVID-inspired evolutions of existing projects (as Secret Sofa version of Secret Cinema) are described as augmented tableau vivant of pandemic times. Author reminds also the long tradition of interactive art dealing with problem of telepresence or joining remote locations, as well as the history of interactive art and performances that function only virtually (in the Internet/The Third Space) what permits to analyse actual, “pandemic” strategies of presenting the interactive art (as Home Delivery by Ars Electronica Center) in broader context.