Wyniki wyszukiwania - Biblioteka Nauki

1

Poetyka w działaniu. Czas i kod w poezji Johna Cayleya i poetów Rozdzielczości Chleba

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Pisarski M.

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nr 4-5

6-19

EN

The purpose of the article is to broaden readers’ understanding of how code is used in digital literary forms. Although digital poetics in the Polish context seems relatively established, the code aspect of works, particularly when we consider works in which a computer program becomes an active, causative subject beyond the full control of author and reader, requires some additional clarification. Using examples from Polish electronic literature, the article recapitulates the typology of code formulated by John Cayley, a pioneer in digital poetry; next, it examines a series of works by Cayley and Howe in which programmed “readers” – supplied with a source text and linguistic resources indexed by Google – are sent on a special mission in search of poetic originality. Three main theses are formulated: programming is a new kind of poetics in action; code in temporal or internet texts attains the status of an autonomous actor, situated in between text, author, and reader, and maintaining contact with other programs on the web; hypertext as a primary paradigm of digital textuality turns out to be a transitional form, from the point of view of the practices of Cayley and Polish cybernetic poets, much closer to the print paradigm, that was originally acknowledged.

PL

Celem artykułu jest poszerzenie rozumienia kodu w cyfrowych formach literackich. Choć poetyka cyfrowa na polskim gruncie zdaje się ugruntowywać, to kodowy aspekt dzieła, zwłaszcza gdy przedmiotem refleksji są utwory, w których program komputerowy zamienia się w czynny podmiot sprawczy, poza pełną kontrolą autora i czytelnika, domaga się dodatkowych rozróżnień. Opierając się na przykładach polskiej literatury elektronicznej, zrekapitulowana zostaje typologia kodu według Johna Cayleya – pioniera poezji cyfrowej, a następnie przybliżona zostaje seria prac Cayleya/Howe’a, w ramach których zaprogramowane „czytniki” na podstawie tekstu źródłowego i zasobów językowych indeksowanych przez Google, wysyłane są na misję specjalną: poszukiwanie oryginalności poetyckiej. W pracy sformułowano trzy tezy: programowanie jest nowym rodzajem poetyki w działaniu; kod w tekście temporalnym i sieciowym osiąga statut autonomicznego aktora, sytuującego się pomiędzy tekstem, autorem i czytelnikiem, i będącego w kontakcie z innymi programami w sieci; hipertekst jako pierwotny paradygmat tekstualności cyfrowej okazuje się formą przejściową, z punktu widzenia praktyki Cayleya i polskich poetów cybernetycznych, bliższą paradygmatowi druku.

2

Autor i dzieło w kulturze cyfrowej (na przykładzie twórczości Nicka Montforta

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Pisarski M.

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2014

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nr 2(20)

PL

Cultural and methodological framework set by digital humanities implies a substantial shift in authorial paradigms. A sole humanist thinker is replaced by a humanist-programmer, always ready for collaboration with others and whose research is focused not on close-reading and interpretation, but on computational and generative distance-reading. One of the ways to familiarise with the changed paradigm is to look for similar, authorial figures in art, specifically in digital literature. The humanist-programmer, someone with higher than usual set of competencies which spanned across computing and literature, has been directly and indirectly present in the work of Nick Montfort – one of the most prolific artists in the field of electronic literature. By looking at the occurrences of the writer-programmer figure in Montfort’s literary happenings and text-machines and by examining the enhanced model of literary communication, the article aims at encouraging new ways of looking at (digitally) infused literature and culture, establishing Nick Montfort as one of their pioneers and proponents. Part of the article, while discussing a poetry generator Sea and Spar Between, concentrates on several categories related to the figure of humanist-programmer: critical code studies, distributive authorship, culture of collaboration, remix culture.

3

Przekład hipertekstowy. Teoria i praktyka

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Szczęsna E. , Pawlicka U. , Pisarski M.

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tom 5

p. 373-394

EN

The aim of our study is to present a new type of translation which takes place on the crossroads of language (translation proper), medium (adaptation) and a combination of software and hardware (port/porting). Looking closely at several translations of American hypertext fiction and poetry into Polish (afternoon, a story by Michael Joyce, Blueberries by Susan Gibb) we analyze textual procedures that must be taken into account while translating digital literature, at the same time scrutinizing various challenges (on the level of text semantics) that must be faced by the authors of this new kind of translation. Our goal is to demonstrate in what ways the shift from one medium and semiotic system (print) to another (screen) changes the ontology of the literary work and the scope of translator’s assignments. It is especially important in the situation when verbal elements are no longer sole conveyers of meaning, but are instead accompanied by multimedia elements and the underlying layer of computer code. Four forms of digital translation are presented: digitalization, digital adaptation, structural translations and hypertextual translation. Two possible instances of the hypertext translation are discussed; one is a language to language translation over the programming layer, the other being an adaptation of classic work into a hypertext structure. We analyze the stages and specifics of digital translation. Translation that takes into account the visual, the operational (interface) and the programming layer of the work becomes a process on events rather than a process on textual elements. Hypertextual translation – as we conclude – is a multidimensional transformation of text that happens on the semiotic, technological and the cultural levels at the same time.