Mariusz Pisarski

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.

The article presents challenges of translating poetry generators in multi-authorial, creative collaboration and within the context of understanding text as process. Stephanie Strickland and Nick Montfort’s Sea and Spar Between is in many respects a translational challenge that in some languages might seem an impossible task. Polish, our target language, imposes some serious constraints: one-syllable words become disyllabic or multisyllabic; kennings have different morphological, lexical, and grammatical arrangement, and most of the generative rhetoric of the original (like anaphors) must take into consideration the grammatical gender of Polish words. As a result, the JavaScript code, instructions that accompany the JavaScript file, and arrays of words that this poetry generator draws from, needed to be expanded and rewritten. Moreover, in several crucial points of this rule-driven work, natural language forced us to modify the code. In translating Sea and Spar Between, the process of negotiation between the source language and the target language involves more factors than in the case of traditional translation. Strickland and Montfort read Dickinson and Melville and parse their readings into a computer program (in itself a translation, or port, from Python to JavaScript) which combines them in almost countless ways. This collision of cultures, languages, and tools becomes amplified if one wants to transpose it into a different language. This transposition involves the original authors of Sea and Spar Between, the four original translators of Dickinson and Melville into Polish, and us, turning into a multilayered translational challenge, something we propose to call a distributed translation. While testing the language and the potential of poetry translation in the digital age, the experiment – we hope – has produced some fascinating and thought-provoking poetry.