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This article addresses how rhythm may function in literary apps. The article has two aims: increasing the knowledge of how literary apps work as texts, by exploring their aspects of rhythm, and developing the understanding of the theoretical term of rhythm. The authors propose a rhythmanalysis in which two different types of rhythm – reading rhythm and narrative rhythm – are taken into account. The two types of rhythm may both occur at different structural levels in the text. This approach is applied to the analysis of rhythm in the popular literary app, Florence (Wong et al., 2018, Florence Tablet application software), drawing on concepts from multimodal social semiotics (Van Leeuwen, Introducing Social Semiotics, 2005), although leaning towards a more reception-oriented approach than the traditional text-oriented analysis in social semiotics. Literary apps are defined in this context as multimodal fictional narratives that can lead to an aesthetic experience for the reader (Iser, 1984, Der Akt des Lesens); however, non-narrative apps, such as poetry, may also be defined as literary apps. These apps may be read on a tablet or a smartphone. This article elucidates some of the many facets of rhythm related to the multimodal design of a literary app, which invites different forms of interactivity than the linear reading and page-turning of print-based picture books. The findings of the analysis show how rhythm not only contributes to the multimodal cohesional aspects of literary apps, but is fundamental to the meaning potential of the literary app. [ABSTRACT FROM AUTHOR]

This article seeks to open an analytical space to approach digital works produced in Latin America from a common perspective. It proposes that, by approaching digital artworks from the politics of the commons, it is possible to recognize a series of subversive practices that involve diverse agencies, cosmotechniques and values of use to the global north, in the context of a digital world increasingly normativized by surveillance capitalism, neo-extractivism and the primacy of exchange value. Through the analysis of diverse works gathered in archives of Latin American digital literature, I seek to recognize the patterns related to common practices, in order to understand what differences and contributions these works propose as Latin American situated works, especially with respect to the displays of reappropriation of common goods contained in language, disputing conceptions of alternative times to capital through collaborative exercises of production, promotion of use value over exchange value or denaturalization of languages of dispossession along with their contradictions and historical modern violence. [ABSTRACT FROM AUTHOR]

Copyright of TECHNO Review is the property of Eurasia Academic Publishing Group and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The emergence of e-literature – texts created on and for digital devices – has coincided with innovative, transgressive methods of storytelling. Pry, an iOS-based text, exemplifies e-literature's potential to rethink traditional narrative conventions. Rather than depict the real-world as we experience it (i.e. mimesis), Pry features metaleptic elements (i.e. jarring transgressions across narrative levels) and unnatural temporality (i.e. nonlinear, contradictory jumps across time). This article traces how a graduate class of librarians and preservice teachers responded to Pry's unnatural narratology through multimodal composition and annotation. Findings suggest that e-literature may demand more expansive repertoires of text interpretation and relationality. [ABSTRACT FROM AUTHOR]

Este trabajo indaga sobre la traducción en un sentido expandido, esto es, una práctica que desborda su tarea hegemónica durante la Modernidad —traducir lenguas nacionales verbalmente en un sistema inter-nacional occidental— para, en cambio, decodificar distintos lenguajes no verbales mediante el uso experimental de máquinas de escritura. ¿Qué decodificaciones emergen a través del uso experimental de la traducción expandida en la literatura digital latinoamericana? Tomando la premisa de que todo lenguaje es un código, el análisis recursivo de cuatro obras experimentales latinoamericanas deja al descubierto las desigualdades, los desvíos, los intereses en distintos contextos de producción y consumo. This work explores the concept of expanded translation, a practice that overflows its hegemonic task during Modernity—translating verbal national languages into a Western inter-national system—to decode different non-verbal languages through writing machines. What decoding emerges through the experimental use of expanded translation in Latin American electronic literature? Taking the premise that all language is a code, the recursive analysis of four Latin American experimental works exposes inequalities, deviations, interests in different contexts of production and consumption.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Porównania / Comparisons. A Journal on Comparative Literature & Interdisciplinary Studies is the property of Adam Mickiewicz University Poznao, Press of "Poznanskie Studia Polonistyczne" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 analyze 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. [ABSTRACT FROM AUTHOR]

Imagine it's 2025. What will constitute a "text" in the university class of the future? In our current era of convergent and transmedia practices, disciplinary boundaries between distinct media (film, game, literature, virtual reality, etc.) are blurred in stories and experiences that are distributed across or merge multiple media forms. From born digital works to analogue/digital hybrids, the challenge for e-literature studies moving forward will be how to critique works that are media fluid, that challenge the discipline specific hermeneutics of literary analysis, film studies, game studies, and/or theatre studies. No one disciplinary framework can speak to the whole of a given "text," yet each offers a history of both critical and artistic practice that enriches and intersects with digital media studies. Add to this multi- and transmedia complexity, elements, situations, and contexts that deliberately invite audience participation in experiences allowing us to enter into the "storyworld" or that invite fans to co-create and extend content, and "textual" analysis overlaps with experience design. Originating in the field of Human Computer Interaction, and now central to game design, marketing, and corporate storyworld development, experience design recognizes our media fluent audience (i.e. people) as a medium. This essay models how understanding the methodologies of experience design can reframe our understanding of the design, effects, and affect generated by diverse digital media "texts" such as the Twine game Queers in Love at the End of the World, the first-person shooter game Bioshock and the VR 360° video adaptation of Lincoln in the Bardo. [ABSTRACT FROM AUTHOR]

This paper discusses the development of Intimate Fields, an installation work that brings together “near field” technologies from markedly different eras to argue that secrecy, absence, and distance are constituting features of felt human intimacy. Looking back to the sixteenth and seventeenth centuries, our project expands to digital technologies the concept of “the posy” and the practice of its creation and dissemination. Posies are short poems designed to be inscribed on gifted objects, most frequently rings. These bespoke accessories are meant to be worn on the body and to signify or transact amorous relations, act as memento mori, or even enable private and subversive modes of religious devotion. Posies and their objects were widely held to act as reminders of intimacy or as portals to memory. At the same time, the inscriptions themselves, particularly on courtship rings, are often generic and were collected and published in printed books for use and adaptation. By inter-animating today’s methods of near field communication and early modern wearables, this project explores how text and code technologies and the languages they carry can create, interrupt, or re-shape interpersonal connection.

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cosmopolitan ideal of a world literature, only partially and occasionally realised in print, can give us terms with which to measure the costs and benefits of moving scholarly works, and our conversations about works, into present media. This essay takes a measuredly optimistic view of our current potential, as literature moves not simply from print to screen, across national borders, or among avant-garde aesthetics. The defining move, I want to argue, is from bounded forms to the database, whose works, while stable, remain open to linkages with all other literary forms available in any number of interoperable databases. The relocation of works in new media is a shift not in degree, but in kind. As our expectations too shift regarding the means of circulation among minds and media, we are more likely to discern what is really new and really global about writing in the media ecology and cognitive economies we currently inhabit. [ABSTRACT FROM AUTHOR]

I have stopped creating new works of e-Literature. I feel that the ethical questions which surround the creation of artworks within an electronic medium are too important to be ignored. In this essay, I reflect upon the note through which I originally announced my decision, whose main intention is to point the attention of the e-Literature community towards the serious absence of ethical assessments within the discipline. I believe these assessments should be considered and integrated as parameters for both the creation and the study of the works of e-Literature. In face of the undeniable materialness of digital technologies, whose manufacturing processes imply the dismantling of natural and social systems in different parts of the world, I believe that rethinking the relationships between literature and its new medium becomes an urgent task, which should be approached in a multidimensional way, including ethics, transdisciplinary research and critical engineering.

In my creative research practice, I am interested in stretching new technologies and programmable languages in order to explore multimodal digital textualities. During the last seven years, I have developed projects assisted by programmers in order to create language-art media work through the exploration of interactive grammars, aesthetics, and poetics in digital writing. My interest in new literacies, new text, the reader/writer/performer of generative texts, sound, and visual interfaces in a world of unstable, generative visual words, is reflected in my creative work, and this essay considers how these concerns have unfolded through the development of an application for the iPad. The application, titled Gateway to the World (2014), was developed specifically for an exhibition in Hamburg, Germany. It is an exploration of data visualization poetics that use open data to visualize the routes of the vessels arriving at and departing from the Port of Hamburg, with the names of the vessels being mapped to Wikipedia entries. This paper establishes a context for the app through the discussion of artists' and designers' works, the presentation of ideas, notions, and concerns related to the creation of data visualization projects, as well as the creative process involved in the production of the application. [ABSTRACT FROM AUTHOR]

Given the state of communication and publication today, it would be impossible to discuss 'Short fiction in a transnational digital age' without engaging in some way with digital media. The World Wide Web is an international phenomenon that is exerting influence upon culture and literature in ways we cannot yet fully understand. Short fiction's involvement with digital media within this network can be linked to changing habits and perceptions on both the individual and societal level. In these evolving spaces, short fiction might still be approached in a traditional manner, as a unique, stable aesthetic unit, but it also requires that we take into consideration its position in a complex network of devices and processes. Certainly, many forms of literature are being significantly affected by the development of digital media. However, given its associations with experimentation and its generic elasticity, short fiction, in its many forms, appears well adapted for negotiating the evolving paradigms of digital reading and writing in their interconnection with literary networks and communities. In this article I will address some of the changes in the reading and writing of short fiction occurring through digital media and will suggest how short fiction might propose a space to explore the impact of these developments on a transnational level. [ABSTRACT FROM AUTHOR]

The aim of this text is to examine the idea of endless conversions between media and the impact on the arts as a result of this process. The transliterature-based conversions and remediations may result from quite different aesthetical approaches. From Spoken Movies by Wojciech Bąkowski to exuberant and complicated visual narratives by Ryan Trecartin - we can establish some common features, among them a word-based foundation. Another important issue is a database narrative, not only known from such iconic examples such as Soft Cinema, but also in more contemporary works by Camille Henrot. The idea of a clink (content link), introduced by Theodor H. Nelson, may help to understand the incoherent relation between the visual and the textual layers of meaning. Since in the post-Internet culture a logic of mediated experience can be applied to the offline world, some examples of contemporary artistic attitudes bring to mind templates created for users rather than readers or viewers. [ABSTRACT FROM AUTHOR]

There is evidence today that humans are experiencing a different biological reality related to the new virtual environment. Anthropologists affirm that Homo sapiens has developed alongside of technologies; philosophers are trying to understand the "screen culture" and the way we'll cope with the "haptic culture," the culture of touch; the theorists of aesthetic objects are trying to comprehend how contemporary screen cultures affect structures of aesthetic representation and perception. Will the book survive the dispersal caused by hypertext formats and the storage and mutability of the written word in the electronic age? Will culture - as we know it - survive the shift from digital images and text to that of acoustical culture, the visual experience in the digital age? The future will possibly employ a new language for a different kind of mind, the mind of virtual reality. Such minds will not make the ones that we now employ obsolete. A new form of alliance between the non-linear mind and the new media logic will be living in the fluid of the virtual mind reality. [ABSTRACT FROM AUTHOR]

In the era of digital communication the once privileged and superior position of the literary text is being destabilized and de-centered. Meaning is constructed by a multiplicity of means, so that verbal literacy is superseded by multiple literacies that take into account a wider range of human intelligences, than the ones evaluated by the traditional teaching approaches. Literature is affected by this cultural turn not only at the level of its production, but also of its "consumption" and teaching. Electronically supported or even e- literature presupposes a number of diverse and demanding operational skills which engage the receiver and turn him/her into an active meaning- producer within the frame of an unprecedented communication act. * The genres of e-literature, * the requirements for a critical access of them, * their features, * the cooperative production of narratives and * other potential implementations of the internet in the literature lesson as well as * the comparative study of a literary text with its cinematic equivalent are some of the issues discussed in this paper. [ABSTRACT FROM AUTHOR]

The impact of information and communication technologies (ICTs) is changing the nature of literary narratives for children and the contexts in which they experience and respond to such narratives outside of school contexts. However, in the main, teachers do not feel confident or comfortable in the world of digital multimedia. Children's literature can bridge this intergenerational digital divide in the English classroom. This paper introduces frameworks that may assist teachers in negotiating curricular andpedagogic approaches with children using digital resources for developing literary understanding and literacy learning. [ABSTRACT FROM AUTHOR]

This paper considers some of the benefits of reading and writing e-literature, including its influences on prints texts, challenges to the imagination, and attention to metafictive devices and processes. The less cohesive, more fragmented quality of e-literature creates a subjunctive space for creation where writers can consider interesting pathways and diversions since the digital form supports multidirectional structures. Using data from a digital literacy study with an eleventh grade English class as well as her own writing of fiction and poetry, the author suggests that the fragmented nature of e-literature offers benefits for learning in school that complement rather than replace more traditional forms of literature. [ABSTRACT FROM AUTHOR]

Kim White and Sarah Townsend created the End[of] Paper blog while preparing for their panel on "Electronic Book Technologies." In their blog they discussed innovations in creative-critical works, reference works; mass market publications; electronic textbooks; ephemera; and collaborative constructions. They also discussed issues of preservation; standardization; and literacy. Fittingly, their paper was presented in blog format. Exemplary texts from each category were presented. Links to many of these texts as well as the text of the presentation itself can he found on the blog website "End [of] Paper" www. endofpaper. blogspot.com. To accompany your web journey, we are including a bibliography of related electronic resources. [ABSTRACT FROM AUTHOR]