News

Documentary Turning the Page: The Material Book in a Digital World http://vimeo.com/42456773 (with Honours College UU)

SEPTEMBER 2014: International seminar Zines and Ephemera at NICA with Sara Rosa Espi and Anna Poletti.

JUNE 2014: article: Kiene Brillenburg Wurth, “Diffraction, Handwriting, and Intra-Mediality in Louise Paillé’s Livres-livres”.  Parallax, eds Birgit Kaiser and Kathrin Thiele, special issue on Karen Barad and Diffraction. Online with Routledge.  

MAY 2014 (26-27): seminar with Jeffrey Schnapp of the Harvard Metalab at Utrecht University on Electronic Info Age Books 

FEBRUARY 2014: Ravenstein seminar Materiality of Literature, with Kiene Brillenburg Wurth, Sara Rosa Espi, and Inge van de Ven: http://ravensteinseminar.wordpress.com

DECEMBER 2013: article: Sara Rosa Espi, “Writing Dyslexia”. Image [&] Narrative: Online Magazine of the Visual Narrative, 14(3), 45-56. Online: http://www.imageandnarrative.be/index.php/imagenarrative/article/view/406

DECEMBER 2013: article: Kiene Brillenburg Wurth,  “Literary Materiality in the Digital Age”. Image [&] Narrative: Online Magazine of the Visual Narrative, 14(3), 20-33. Online:

http://www.imageandnarrative.be/index.php/imagenarrative/article/view/397

JUNE 2013: article: Kiene Brillenburg Wurth, “The Bodies of Henri Chopin”,. In Andrew & Keith Clark & Chapin (Eds.), Speaking of Music,(pp. 192-211). New York: Fordham UP.

SEPTEMBER 2013: journalistic article: Kiene Brillenburg Wurth, “Berichten uit een schriftloze samenleving”. De Groene Amsterdammer(pp. 54-57). http://www.groene.nl/zoeken?author=Kiene+Brillenburg+Wurth

MARCH 2013: New joint article: Kiene Brillenburg Wurth, Sara Rosa Espi and Inge van de Ven: “Visual Text and Media Divergence: Analogue Literary Writing in a Digital Age” in European Journal of English Studies, March 2013, special issue on Visual Text. Online:

http://www.tandfonline.com/doi/abs/10.1080/13825577.2013.757014

MARCH 2012: New joint article: Inge van de Ven and Kiene Brillenburg Wurth, “Posthumously Speaking: Thanatography in a Posthuman Age”. Frame: Tijdschrift voor Literatuurwetenschap, 25, 47-65.

MARCH 2012: journalistic article: Kiene Brillenburg Wurth, “Overal literatuur, overal een boek.” Groene Amsterdammer 28/3. http://www.groene.nl/zoeken?author=Kiene+Brillenburg+Wurth

New Book edited by Kiene Brillenburg Wurth : Between Page and Screen, Fordham University Press, 2012.

December 7 & 8 2012:

Kiene Brillenburg Wurth: Presentation on ‘Overwriting’ in Critique workshop (Birgit Kaiser and Kathrin Thiele) at UU. Read the position paper under Writings in this blog.

November 5 & 7 2012:
Talks with Kiene Brillenburg Wurth, Jessica Pressman, Jan Hein Hoogstad, Yra van Dijk at UU and UvA

November 7: Atelier Reinvention and Remediation. LIterature, Science, and Media Machines. Program:

14.00-14.45: Jan Hein Hoogstad (UvA): # Lost and Found in Space

15.00-15.45: Jessica Pressman (San Diego): Bookishness in a Digital Age

16.00-16.45: Yra van Dijk (UvA): Literature and Digital Media

17.00-17.45: Kiene Brillenburg Wurth (UU): Literature and the Posthuman in the Information Age: Thanatography

November 5: Comparative Literature Seminar at Utrecht University

I. Jessica Pressman: “Between Page and Screen, an Augmented-Reality Book, and What it Says about Books in the Digital Age”

Amaranth Borok and Brad Bouse’s Between Page and Screen (2012) is an augmented-reality book of poetry. Its title describes the actual, technical poetic it performs. Every page of this finely-made letterpress book contains a QR graphic, a black and white geometric pattern that references (for both human and machine readers) a website. To access the text, the reader must visit this website and hold the book up to the web-camera on her computer. An image of three-dimensional concrete poetry then appears in the space between the page and the screen. Between Page and Screen aestheticizes the media involved in producing its poetry as well as the connection between books and digital technologies, and it raises many questions about what we mean by “text,” “literature,” and “reading.” Specifically, this work provides an opportunity to confront and appreciate the fact that the book— that older literary medium—is dying in our digital age but is also experiencing a renaissance. In this talk, I present Between Page and Screen as exemplary of a larger phenomenon in contemporary literature, what I call “bookishness,” wherein book-bound, experimental literature shows how the codex can become newly relevant for a digital age. This particular example of bookishness presents actual projected verse via the codex in order to expose the book to be a reading machine that, rather than standing in opposition to digital technology, is purposefully connected to the Internet and its networked reading practices.

II Kiene Brillenburg Wurth: ‘Monuments to the Past, Monuments to the Book: Fabulated Histories in the Photo Novellas of Kahn/Selesnick’

Today, a lot of authors and artists are creating monuments to the book—the book as it was, as it never was, or as it may be: minimal, giant, folded, in a box, or simply bound. In a time when the digital media and the information age are said to herald a new aesthetics of creative destruction (including the destruction of the literary as a historical discipline), artists-writers like Richard Selesnick and Nicholas Kahn have reshaped the novel into a monumental, intermedial medium that leads back to the illuminated manuscripts of William Blake. In their huge works that are as much a tribute to the literary as to analog photography, and the panorama, Selesnick and Kahn present feigned histories: simulated documentaries about lost or forgotten heroes who traveled and attempted the impossible. In my presentation, I show how works like Circular River or Flights and Wartime, both from the later 1990s, reshape and reinvent a nineteenth-century aesthetics of the book and of photography, and how they thus counter the aesthetics of creative destruction that critics like Alan Liu have been speculating upon since the mid-2000s. They create a particular historicity, not just in their narratives but also of the medium of the book itself. How does the photo novella mediate imaginary memories—cultural or shared as memories in the very material, ‘kitschy’ aesthetics of Circular River and Flights and Wartime? Does their aesthetics of ‘kitsch’ meaningfully counter Liu’s aesthetics of ‘cool’?

BOOK PRESENCE IN A DIGITAL AGE
May 28-May 30 2012, Utrecht University          
OPEN TO ALL

see under Project Conferences in this blog:  http://backbooks.wordpress.com/event

AUGUST 2011: Kiene Brillenburg Wurth: article on Tree of Codes:
‘Old and New Medialities in Jonathan Safran Foer’s Tree of Codes’. In: New Perspectives on Material Culture and Intermedial Practice, ed Steven Tötösy de Zepetnek, Asunción López-Varela Azcárate, Haun Saussy, and Jan Mieszkowski. CLCWeb: Comparative Literature and Culture, 13(3), 2-10. Online: http://docs.lib.purdue.edu/clcweb/vol13/iss3/14/

JUNE 2011: Kiene Brillenburg Wurth: article on Raw Shark Texts:
Posthumanities and Post-textualities: Reading The Raw Shark Texts and Woman’s World. Comparative literature, 63(2), 119-141. Online:

http://complit.dukejournals.org/content/63/2/119.refs

 

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