You are warmly invited to the English Department's next lecture in our series. Professor Eckart Voigts (Technische Universität Braunschweig) organized by Ben Moore
|Date||26 September 2018|
This talk engages with hybrid writing practices which emerge as a consequence of digital coding in electronic media and therefore also transform the materiality of ‘classic’ media. The interconnected digital world holds large quantities of available data (‘Big Data’) and is conceived as an ever-changing space of permanent copy and constant adaptation (Hutcheon 2013) and appropriation (Sanders 2006). It is shaped by fluid, textual recombination (e.g. remix, mashup, intermedia trailer, remediation, remake, fan-fiction). The focus in this presentation will be on automated writing practices executed through artificial neural networks or deep-learning applications that algorithmically recognise and imitate writing patterns as further typical manifestations of aesthetic practices in an information-rich society.
Therefore, the project raises the question of the present role and function of human cultural techniques – reading, writing, arithmetic – in the context of newly defined modalities and cultural literacies (Kalantzis et al. 2016) such as transforming, adapting, appropriating, and remediating. The talk will assess these algorithmic writing practices as digital art (Simanowski 2011), in relation to modernist, surrealist, and Dadaist avant-garde experimentation with automated writing (such as surrealist Écriture automatique, Raymond Queneau, and Oulipo, Hans Magnus Enzensberger’s Landsberger Poesieautomat, or William Burrough’s 'Cut-Up’).
All UvA students, staff and members of the public are welcome to attend.
Eckart Voigts is Professor of English Literature at TU Braunschweig, Germany. He has written, edited and co-edited numerous books and articles, predominantly on intermediality, adaptation, neo-Victorianism, and theatre/drama such as Introduction to Media Studies (Klett 2004), Janespotting and Beyond: British Heritage Retrovisions since the Mid-1990s (Narr 2005), Adaptations – Performing Across Media and Genres (with Monika Pietrzak-Franger, WVT 2009), Reflecting on Darwin (with Monika Pietrzak-Franger and Barbara Schaff, Ashgate 2014), and the Routledge Companion to Adaptation (2018). Recently, he has explored the interrelationship of franchise adaptation and participatory culture on social media platforms, with a special focus on mashup aesthetics, paratextual engagement, transmedia modes of reception and reader-response.