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e-lit jazz @ ELO'16

Sandy Baldwin (@ghost_dog) + Rui Torres (@telepoesis)



  • do notions of transcoding, assemblage, etc. fit particularly well with this notion of improv, i.e of emergent forms?
  • Impossible

  • is literature, as letters, impossible qua improvisation?
  • Thing

  • reading and reading-writing engage in the not totally objective and thing-like aspect of the work.
  • Score

  • static devices of inscription, such as the score, do not accommodate improvisation.
  • Modes

  • classic, free, scored, how do these different modes of improvisation map_onto e-lit?
  • Sorting

  • sorting out: improvisation as a particular practice within jazz versus improvisation as a potential in any musical act, indeed any performative act.
  • Authors

  • does improvisation replace authorship with clusters of bodies in action?
  • Why

  • why improvisation now? to lead us to reconfigure community, collectivity, action, in/and e-lit?
  • History

  • what examples of e-lit, past or present, suggest improvisation? - The ELO Collections?
  • Futures

  • can we predict how e-lit will be, what it will become?
  • Code

  • does code improvise?
  • Bodies

  • the work as score for bodies in motion - is this literature any longer?
  • Feeling

  • does e-lit resist theorization?
  • Institutions

  • can we create reading environments - sites for theoretical and practical research?
  • Collaboration

  • improvisation and e-lit cannot be finalized: they are based on indeterminacy, they always remains incomplete.
  • Presence

  • how is presence connected to immersion?
  • Words

  • linked in a complex network of interactions, words act out during the act of reading only: e-lit jazz is a flux of relations involving code, meaning, and culture.
  • Cobra

  • a structured free improvisation for an improvising ensemble with cues and cards, hands and baton gestures.
  • wheel_of_fortunAly + poemario.js by Nuno Ferreira + Rui Torres | sounds by Aly