DigLitWeb: Digital Literature Web

D for Digital

This section focuses on pre-digital and digital literary creation (including languages other than English). Electronic materiality made it possible to link writing to the properties of electrons and photons by means of microprocessors and programming languages. The space and time of electronic operations that take place in computer circuits, controlled by the graphical user interface, have redefined the writing space. This space is now dependent upon the informational tools that write with the properties of processors, display features of screens, and software functionalities. The electronic computer has emerged as a literary machine capable of actualizing potential literature, investigated by the authors of OULIPO and other similar groups since the 1960s. Moreover, the intermedia nature of digital materiality implies the general expansion of intermedia forms and genres, in which textual and iconic, static and kinetic, photographic and digital, musical and vocal forms can be remediated through digital technology, transcending the material boundaries of earlier reproduction and distribution technologies, and thus modifying those formal and generic properties that are based upon the medium.
Digital works explore possibilities of literary meaning beyond the conventions of printed page. They also experiment with the assemblage of signs and forms of different media and various arts, a process that may be seen, in several works, as a technological remediation of twentieth-century experimental poetics. By using the semantic properties of the electronic writing space – such as graphicality, animation, intermediality, and hypertextuality –, digital creation opens up a new space for literary mediation. A space where the book has become a virtual artifact for organizing simulations of reality and in which signifiers have acquired specific properties of digital textuality. This originates discursive contaminations between verbal texts and other kinds of visual or aural representations. Material contiguity established by digital code results in the hybridity of forms and media. At the same time that we see digital recreations of literary forms inherited from book and print, we also get new forms anchored in digital hypermediation. Topographically structured and embodying temporality, digital texts foreground the role of readers, and stage intersemiotic manipulation as an element of textual structures. This section is divided into three webpages:


Hunting of the Snark (Fig 1)
Hunting of the Snark (Fig 5)
Hunting of the Snark (Fig 9)
1. Visual and Sound: contains links for archives, editions and sites of visual poetry, and also for sound archives. Particular attention is given to intermedia genres and forms which prefigure digital composition in their analog materiality.   2. Kinetic: contains links to archives, editions, and sites of animated poetry. There are also links to other genres of computer-generated poetry.   3. Hyperfiction: contains links for archives, editions, and websites of hypertextual and interactive fiction.

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