Bio: Jerome Fletcher is an academic researcher. The author has contributed to research in topics: Electronic literature & Deleuze and Guattari. The author has an hindex of 1, co-authored 4 publications receiving 5 citations.
TL;DR: In this paper, an extended version of a paper I gave at Kingston University as an invited speaker at the 'From Page to Screen to Augmented Reality' Conference in July 2010 is presented.
Abstract: This article is an extended version of a paper I gave at Kingston University as an invited speaker at the 'From Page to Screen to Augmented Reality' Conference in July 2010. The paper begins from a discussion of a digital text work of my own, entitled …ha perdut la veu. This is a bilingual text work in English and Catalan, and was first shown at the E-poetry conference at the University of Barcelona, May 2009. The text is drawn partly from the translation into Catalan of one of my early children’s novels, La Freda ha perdut la veu. (Alfreda Abbot's Lost Voice OUP), hence the title of the piece. The English text is taken from a translation of Deleuze and Guattari’s Kafka: Towards a Minor Literature. Translation is being used here for its explanatory force in relation to both digital text and performance writing. The paper has two objectives. The first is to give a clear example of the way in which practice and theory, or rather practice-as-research, can exist as a symbiotic relationship – each benefiting and illuminating the other. The second is to propose and map out an area of potential further research into the discursive positioning of electronic literature/digital writing within Deleuze and Guattari’s notion of minorisation as articulated by Jean-Jacques Lecercle in his book, Deleuze and Style. The conference itself was organised by Dr Maria Mencia and the keynote was given by Jay David Bolter, Wesley Chair of New Media and a professor in the School of Literature, Media, and Communication at the Georgia Institute of Technology. He is the author among other things of Writing Space: Computers, Hypertext, and the Remediation of Print, a highly influential critical text of electronic literature.
TL;DR: In this article, the authors analyze a selection of performances where physical corporeality has a collaborative function with the body to a greater or lesser degree, and discuss the literary creation within the cyberculture from the performativity point of view in relation to the textual apparatus.
Abstract: espanolLa literatura digital es un ensamblaje complejo de elementos que se relacionan entre si (elementos materiales, espaciales, linguisticos, interpretativos, textuales, culturales y sociales) siendo, a su vez, interdependientes y separados. Este articulo aborda la creacion literaria en la cibercultura desde la clave de la performatividad en relacion al aparato textual a traves del analisis de una seleccion de performances en las que la entidad fisica tiene una funcion colaborativa con los cuerpos en mayor o menor grado Asi pues, esta funcion fisica no solo puede variar, sino que se situa en tres ejes posibles e hibridables: 1) el texto digital como protagonista, 2) el texto digital como homologo, 3) el texto digital como sitio. EnglishDigital literature is a complex assemblage of related elements �material, spatial, linguistic, performative, textual, cultural, social� each of which is at one time interdependent and detached. This article discusses the literary creation within the cyberculture from the performativity point of view in relation to the textual apparatus. This is done through the analysis of a selection of performances where physical corporeality has a collaborative function with the body to a greater or lesser degree. Therefore, this physical feature can not only change, but stand at three possible and hybridizable axes: 1) the digital text as protagonist, 2) the digital text as counterpart, and 3) the digital text as site.
01 Dec 2012
TL;DR: In this article, the authors take the Procida project as the starting point for an conisder of the notion of the island (both geographical and fictional) in correlation to the practice and social performance of digital text.
Abstract: In January 2011 Fletcher was invited by the Italian electronic literature organisation to give a paper and to display a digital text entitled Trac|tExt|ract at the Palazzo delle Arti di Napoli. This conference was co-organised by the University of Naples, and as a consequence of the paper etc. Fletcher was invited by Dr Lisa Somma, university researcher in digital culture, to join the development team for the Procida project. This is an Italian government initiative to establish an academy of New Media and Digital Arts on the island of Procida in the Bay of Naples. The aim is to consolidate the island’s literary identity through digital culture and technological innovation and to become a pilot centre of excellence for digital cultural studies, electronic literature and e-learning in the fields of e-content and e-publishing. If successful, there is the chance of rolling out the initiative to other islands along Italy's Meditarranean coast. The project has been approved at regional governmental level, although the a date for the granting of significant funds is still difficult to predict. This article takes the Procida project as the starting point for an conisder of the notion of the island (both geographical and fictional) in correlation to the practice and social performance of digital text. Dr Somma wrote the section entitled 'Island 1 - Procida' which was then edited by Fletcher. I wrote the remainder of the article with comments from Dr Somma. The article appeared in a peer-reviewed online journal in a special issue dedicated to E-literature and Community.
21 Nov 2014
TL;DR: In this article, the authors present and reflect on Escape from the Temple of Laughter, a multi-modal children's novel which I published in the mid-90s.
Abstract: As a contribution to the notion of ‘beyond the book’ I will be presenting and reflecting on Escape from the Temple of Laughter, a multi-modal children’s novel which I published in the mid-90s. Starting from a consideration of the book as both a container and a site for writing, this children’s book was one with very porous boundaries. Its contents literally spilled out of it, escaping the totalising control of the codex. For example, rather than a series of maps being illustrated within the text itself, they exist as a set of separate objects. And the same is true of machines, games, devices. mini-books and stickers. These elements could be thought of in the same sense as an ‘exploded view’ of the book which asks the reader to establish the shifting relationships between these elements and the narrative itself. At the same time, each ‘escape’ in itself constitutes the possibility of a new text, taking the reader further and further from the main narrative. This brings to mind Laurence Sterne in Tristram Shandy, . ‘ Digressions, incontestably, are the sunshine;—they are the life, the soul of reading!—take them out of this book, for instance,—you might as well take the book along with them;—one cold eternal winter would reign in every page of it;’ At the time of publication, pre-Web 2.0, Escape from the Temple of Laughter was already a hypertext work. The book is now in the process of digitisation and the second half of the presentation will consider what this means to recontextualise the book in this way. Is it a genuine move ‘beyond the book’, or merely an alternative mode of dissemination? Does digitisation add anything new to the text, or is it foregrounding certain features which are already inherent in the print version? Is digitisation a rupture with print culture or a move across a spectrum? Will the book ‘dematerialise’ as a result of digitisation or will it take on a new form of materiality with different signifying qualities?
01 Jan 2013
TL;DR: In this paper, the authors encourage contributors to enter items of critical writing to indicate what creative works of electronic literature the critical writing discusses, and cross-references are then automatically displayed on both the record for critical writing and for the creative work.
Abstract: in English) (Text) Abstract (in original language) (Text)in original language) (Text) Language of abstract (Structured Taxonomy) Other language version (Node reference to Critical Writing) (Multiple) Pull Quotes (Text) (Multiple) References and Attachments Creative Works referenced (Node reference to Creative Work) (Multiple) We encourage contributors entering items of critical writing to indicate what creative works of electronic literature the critical writing discusses. Cross-references are then automatically displayed on both the record for the critical writing and for the creative work. Critical Writing referenced (Node reference to Critical Writing) (Multiple) critical writing comments substantively on another. Event referenced (Node reference to Event) (Multiple) Organization referenced (Node reference to Organization) (Multiple) Publisher referenced (Node reference to Publisher) (Multiple) Database or Archive referenced (Node reference to Database or Archive) (Multiple)
01 Jan 2017
TL;DR: A paper on digital (or electronic) literature, which aims at conceiving and realizing works which are specific to the computer and the digital medium by trying to exploit their characteristics: hypertext technology, multimedia dimension, interactivity...
Abstract: Why a paper on digital (or electronic) literature? Writers who are recognized as print writers, such as the French novelist François Bon,1 have been experimenting new literary forms on the Internet. In some respects, the Internet appears as an artistic laboratory or as a vast creative workshop.2 However, literary creation with and for the computer was not born with the Internet; it has been around for several decades. “Digital literature”, “electronic literature”, or even “cyberliterature”: the terminology is not fixed.3 Its authors aim at conceiving and realizing works which are specific to the computer and the digital medium by trying to exploit their characteristics: hypertext technology, multimedia dimension, interactivity... The productions of digital literature were of course not born ex nihilo. Genealogy lines can be traced which are acknowledged by the authors themselves: combinatorial writing and constrained writing, fragmentary writing, sound and visual writing.
TL;DR: In this article, aproximación teorica-practica comparada of the parametros transmediales e interdiscursivos of Hiperlibro-arte digital (Hiperlibros-arte) teniendo en cuenta sus aptitudes como fenomeno de comunicacion altamente interactivo in la escena del arte electronico.
Abstract: La consolidacion del uso de tecnologias digitales en el arte, asi como en cualquier tipo de manifestacion cultural en general, ha derivado, en muchos casos, en una praxis creativa contemporanea caracterizada por la integracion de diferentes medios de manera confluente, es decir, una produccion artistica contemporanea que se significa por la hibridacion de ‘viejos’ y ‘nuevos’ medios, soportes, lenguajes y textualidades. A este escenario creativo liminal basado en la transmedialidad Jenkins lo ha denominado ‘convergencia cultural’. El objetivo del articulo es ofrecer una aproximacion teorica-practica comparada de los parametros transmediales e interdiscursivos del Libro-arte digital (Hiperlibro-arte) teniendo en cuenta sus aptitudes como fenomeno de comunicacion altamente interactivo en la escena del arte electronico. Se analizan los conceptos transmedialidad e interdiscursividad como ‘modelos’ de un metodo de estudio del Libro-arte digital desde postulados semioticos. Asimismo, se establecen parangones entre dichos conceptos y Libros-arte digitales (Hiperlibros-arte) a fin de ilustrar, identificar y diferenciar diversas estrategias creativas utilizadas en este tipo de obras para articular su discurso, y por ende en la creacion artistica contemporanea de preceptos similares. Se ambiciona, a la postre, ofrecer herramientas para el analisis de obras fundamentadas en la concurrencia medial, las nuevas textualidades y los procesos comunicativos interactivos.
01 Jan 2014
TL;DR: The Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) project as discussed by the authors was a three-year collaborative research project running from 2010-2013, funded by the Humanities in the European Research Area (HERA) JRP.
Abstract: Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) was a three-year collaborative research project running from 2010-2013, funded by the Humanities in the European Research Area (HERA) JRP for Creativity and Innovation. ELMCIP involved seven European academic research partners and one non-academic partner who investigated how creative communities of practitioners form within a transnational and transcultural context in a globalized and distributed communication environment. Focusing on the electronic literature community in Europe as a model of networked creativity and innovation in practice, ELMCIP intended both to study the formation and interactions of that community and also to further electronic literature research and practice in Europe.