Literature & Computation Week @ UCLouvain

LITERATURE & COMPUTATION Week @ UCLouvain (May 2nd through May 6th 2022)

A week-long series of talks, presentations, workshops, and round tables on:

Computational Approaches to Literature

Analytical-creative Computational Literature

Digital/Computational Literary Studies

Electronic Literature

NLP & Machine Learning for Literature

Platform Intermediality in Literature

AI Poetry

Computational Literary Performance

and… many more…

The event will bring together contributions researching and/or showcasing the most innovative computational approaches to practicing, theoretically articulating, and critically assessing literature in the age of connectivity. Most notably in recent trends and not always consistently covered by the relevant scholarship, computational approaches to literature have complemented algorithmic analysis with creativity and platform-based intermediality. While these directions are in part related to digital literary studies (DLS, mainly analytically) and electronic literature (e-lit, creatively), they comport aspects substantial and contributions significant enough already to require new and more complex and nuanced theoretical and critical approaches.

Analysis in general and computational analysis in particular inevitably involve creativity, but what has emerged as particularly salient over the past years is computation-based analytical creativity for and in literary practice. The latter actually acquires new meanings and manifestations in the context as artificial intelligence can ‘learn’ and quantify literary features only from text corpora and by means of literary text datafication (cf. Pold & Erslev 2020). Creativity therefore involves in our current literary culture, on the one hand, data-analysis-driven computer and human-computer-interaction (HCI)-based writing mainly as sampling (Johnston 2019) or translation (Margento et al. 2021). Such approaches provide an algorithmic consistency and specific scalable methodology to the previously advanced “uncreative” poetics (Perloff 2008, Goldsmith 2011). On the other hand then, and arguably even more relevantly, creativity in literature gained new meanings and approaches, specifically related to generating or creating new literary or literature-relevant data. Relevant contributions in this respect range from literary text maps (Eide 2015) to computationally assembled literary anthologies and automatically expanded poetry corpora (cf. Sondheim et al. 2019) to interactive and comparative web-based ‘editions of editions’ of certain literary work (Raposo et al. 2021). While drawing on fields like digital humanities (DH), DLS, and digital writing and publishing is obviously necessary in tackling such trends, new more inclusive and complex paradigms able to account for these strongly emerging types of analytical-creative literariness need also be defined and developed.

Another significant phenomenon we will be exploring is platform intermediality. In the context of digit(al)ization and globalization literature has acquired more and more intermedial facets and manifestations, which boosted its mercurial and at times encompassing cultural and technological representativity. The history of (modern) literary genres has been revisited for instance, in certain cultural, economic, and political terms, as the history of globalization (Habjan and Imlinger 2016), the ubiquity of (data) visualization and visualities encouraged exploring literature itself as visual culture (Bodola and Isekenmeier 2017), while critically researching and overviewing the evolving, deep and chameleonic, relationship the literary has with computationality invited redefining contemporary literature as the digital (Tanasescu 2021). Particularly this latter aspect, as foregrounded by a number of the featured presentations, can unveil the multilayered intermedial valences of the literary and the consequential relevance it has to platform culture and communities.

Selected References

Armaselu, Florentina. 2022. “Genetic Criticism and Analysis of Interface Design. A Case Study.” In Digital Studies / Le champ numérique, ed. Daniel O’Donnell, forthcoming.

Bodola, Ronja, and Guido Isekenmeier, eds. 2017. Literary Visualities. Visual Descriptions, Readerly Visualisations, Textual Visibilities. Berlin and Boston: De Gruyter.  

Eide, Øyvind. 2015. Media Boundaries and Conceptual Modelling: Between Texts and Maps. London: Palgrave Macmillan.

Funkhouser, C.T. 2012. New Directions in Digital Poetry. London and New York: Bloomsbury. 

Goldsmith, Kenneth. 2011. Uncreative Writing: Managing Language in the Digital Age. New York:Columbia University Press.

Habjan, Jernej, and Fabienne Imlinger, eds. 2016. Globalizing Literary Genres. Literature, History, Modernity. London and New York: Routledge.  

Johnston, David Jhave. 2019. ReRites. Human + A.I. poetry. Generated by a computer. Edited by a human. Montreal: Anteism Books.

Larrue, Jean-Marc, and Marcello Vitali-Rosati. 2019. Media Do Not Exist: Performativity and Mediating Conjunctures. Amsterdam: Institute of Network Cultures.

Margento, Steve Rushton, and Taner Murat. 2021. Various Wanted. An (almost) missing original and five—literary, computational, and visual—translations. Iasi & London: Timpul.

Perloff, Marjorie. 2008. Unoriginal Genius: Poetry by Other Means in the New Century. Chicago: UCP.

Pold, Søren Bro & Malthe Stavning Erslev. 2020. “Data-Realism: Reading and Writing Datafied Text.” Electronic Book Review,

Ramsay, Stephen. 2011. Reading Machines. Toward an Algorithmic Criticism. Urbana-Champaign: UIP.

Raposo, José, António Rito Silva, and Manuel Portela. 2021. “LdoD Visual – A Visual Reader for Fernando Pessoa’s Book of Disquiet: An In-Out-In Metaphor.” DHQ Volume 15 Number 3,

Rettberg, Scott. 2019. Electronic Literature. Cambridge: Polity. 

Siemens, Ray & Susan Schreibman, eds. 2013. A Companion to Digital Literary Studies. Oxford: Blackwell.

Sondheim, Alan, Brian Kim Stefans, Johanna Drucker, John Cayley, and Margento. 2019. “Our Shared World of Language: Reflections on ‘US’ Poets Foreign Poets.” Asymptote, “Essays” section of the journal’s blog,

Tanasescu, Chris. 2021. “Literature and/as (the) Digital. An Introduction.” In Interférences littéraires / Literaire interferenties Volume 25, guest. ed. Chris Tanasescu, pp. 1-25,

Plenary opening talk by

Ray Siemens (University of Victoria, Canada)

« Code, Poetry and Traditions of Text: Editing in Open, Broad Context »

on May 2nd from 2 pm

a hybrid (in-person and online) event


MONDAY 2/05 – MORE 56 (GPLO-DROIT) (Place Montesquieu, 2) & Teams 

  • 14h00 – 14h50: Keynote lecture 
    • Code, Poetry and Traditions of Text: Editing in Open, Broad Context (Ray Siemens, University of Victoria)  
  • 15h00 – 15h50: Panel “Digital Heritage Research at KBR (Royal Library of Belgium)” (Panel Chair: Sally Chambers, UGent – KBR – DARIAH) 
    • Computational Document Recognition in the KBR Data Science Lab (Tan Lu, VUB – KBR)  
    • KBR’s Digital Research Lab & Computational Literary Studies (Julie Birkholz, UGent – KBR)  
    • Introducing LabEL, a Laboratory for Electronic Literature at KBR (Isabelle Gribomont, UCLouvain – KBR)  

TUESDAY 3/05 –  LECL 82 (Place Montesquieu 1) & Teams 

  • 14h00 – 14h50: Reflective Modelling with Visual Representations: What the digital humanities can learn from modelling in design practice (Jan-Erik Stange, Freie Universität Berlin)  CANCELED for health reasons
  • 15h00 – 15h50: De l’enquête exploratoire à l’exposition en ligne : Bureaux-écrans d’écrivain·e·s. Coulisses numériques de la création (2021-2022) (Corentin Lahouste et Anne Reverseau, UCLouvain)  
  • 16h00 – 16h30: Compute INCAL. Networked Communities and Cross-disciplinary Trans-centric Research Predictions for the Institute for the Study of Cultures, Arts, and Letters at UCLouvain (Derek Siemens, University of Victoria, and Chris Tanasescu, UCLouvain)  

WEDNESDAY 4/05 – SOCR 20 (Place du Cardinal Mercier, 10-12) & Teams 

  • 14h00 – 14h50: What might a Canadian bilingual DH center look like? The Case of the Centre de recherche interuniversitaire sur les humanités numériques (bilingual French & English talk) (Michael Sinatra, Université de Montréal)  
  • 15h00 – 15h50: Saisir la littérature en contexte numérique : du projet Littérature québécoise mobile à la matérialité des œuvres numériques (René Audet, Université Laval) – en distanciel/online talk 

THURSDAY 5/05 – MERC 01 (Rue du Compas, 1) & Teams 

  • 14h30 – 15h50: Panel “EMBEDDIA Project (Cross-Lingual Embeddings for Less-Represented Languages in European News Media)”  
    • Text Analysis Using Cross-lingual Embeddings: Results from the EMBEDDIA project (Senja Pollak, Jozef Stefan Institute)  
    • Natural Language Processing Online with ClowdFlows (Martin Žnidaršič, Jozef Stefan Institute)  
  • 16h00 – 16h50: Towards a Collection of Works of Digital Literature from Flanders and the Netherlands (1971–2022) (Siebe Bluijs and Lois Burke, Tilburg University).  

FRIDAY 6/05 – Online only 

  • 14h00 – 15h00: What’s a Scientific Text? Discussing literary genre by processing a digital corpus (Margherita Fantoli, KU Leuven) 

FRIDAY 6/05 – Facebook livestream (@Margento.Official

  • 22h00 – 23h30: Code Is Poetry. Intermedia Computational Performance (MARGENTO & Friends) 

Registration: HERE

See full programme including talk abstracts and presenters’ bios here:

Campus map including locations of auditoriums:

LITERATURE & COMPUTATION Week @ UCLouvain (May 2nd through May 6th 2022)


co-organized by

The Altissia Chair in Digital Cultures and Ethics (UCL)





Register here and see you soon, in person (campus map) or online (register to attend on TEAMS when filling out the registration form).

Recording of TNT 2021-2022 (III) Michael Sinatra

Vous pouvez regarder l’enregistrement de / You can watch the recording of

TNT 2021-2022 (III) Michael Sinatra

ici / here

Professor Michael Sinatra (University of Montreal) will also visit us in early May to give a followup talk as part of the event / Le professeur Michael Sinatra (Université de Montréal) nous rendra également visite début mai pour donner une conférence de suivi dans le cadre de l’événement :

Literature & Computation

co-organized by the / co-organisé par la

Altissia Chair in Digital Cultures and Ethics (UCLouvain) / Chaire Altissia en Cultures et éthique du numérique (UCLouvain)

and the / et le

Digital Literature Lab (KBR & UCLouvain) / Laboratoire de littérature numérique (KBR & UCLouvain)

Stay tuned for further details! / Restez à l’écoute pour plus de détails !

DHSI 2022

[From the DHSI website:]

We are thrilled to be hosting DHSI 2022—Online Edition (June 6-10) this year, which will consist of several aligned conferences & events, institute lectures, and workshops. This page is dedicated to the virtual aligned conferences & events:

Conferences will consist of pre-recorded video presentations available to registered participants and some combination of 2-hour Zoom and Twitter discussions during the week of DHSI. A few days before the scheduled discussion, registered participants will gain access to the password-protected presentations and will have a chance to prepare questions and comments. During the scheduled time, presenters will engage in a Zoom and/or Twitter Q&A and discussion. Please see the below descriptions for further details.

To register for aligned conferences & events, online workshops, and/or institute lectures, please complete the form available at the following link:

Click here to view the at-a-glance schedule of live sessions for the aligned conferences & events.


Event chair: Chris Tanasescu (UCLouvain)

1:00 pm – 3:00 pm PDT Friday, 10 June

All those connected to DHSI and its 2022 edition are invited to be part of the EPoetry event #GraphPoem by MARGENTO by contributing text files or weblinks to a collectively assembled dataset and/or run a script plotting the latter into a real-time evolving network.

The Graph Poem is an ongoing transnational project combining natural language processing and graph theory-based approaches to poetry, with academicDH-literary, and performative outputs.

When DHSI registration opens, participants will be able to sign up for GraphPoem and will receive an account giving them access to the data and the code.

#GraphPoem will have two main components viewable to anybody accessing the following online venues at the time of the event: a livestreamed performance on Margento’s Facebook page and the bot @GraphPoem tweeting text-nodes selected from the evolving graph by a network analysis algorithm and fed into the performance.

To register for DHSI 2022—Online Edition, please complete this form.

DHSI 2022—Online Edition: Workshops

We are thrilled to be hosting DHSI 2022—Online Edition (June 6–10) this year, which will consist of several aligned conferences, institute lectures, and workshops. This page is dedicated to the online workshops.

Online workshop offerings are listed below, which include both synchronous and asynchronous options. Instructor(s) will be in touch with registrants to provide access details for asynchronous materials, details about live workshop sessions(s), and other participation details as DHSI approaches.

Proposed meeting times are approximate and subject to confirmation by instructors at a later time.

More info:

Christoph Purschke, TNT 2021-22 (IV)

Christoph Purschke

Mise à jour. Événement annulé en raison de la situation sanitaire. [Le professeur Purschke a promis d’essayer de reprogrammer la conférence pour l’automne.]

Notre prochain conférencier TNT est le professeur Christoph Purschke (Université du Luxembourg).

« I work as an Associate Professor in Computational Linguistics at the Institute for Luxembourg Studies. Before that, I worked at the Research Center Deutscher Sprachatlas in Marburg, where I was involved in the development of a comprehensive research platform on the regional languages of German (

I am also the head of the newly founded Culture & Computation Lab, a transversal research unit for Cultural Data Science hosted at the Department of Humanities. 

In my work I combine different disciplines and methodological approaches to the analysis of language as a cultural phenomenon. The starting point of my research is formed by the complex relationships between human activity in the world on the one hand and the structure and dynamics of cultural symbol systems on the other. The main focus of my work is the empirical investigation of sociolinguistic issues, the implementation of computational approaches to language use and evaluation, and the development of theoretical models for the description of human cultural practice […] »

Plus d’informations :

Restez à l’écoute pour les détails relatifs à cet événement TNT !

Recording of TNT 2021-2022 (II) Florentina Armaselu

Vous pouvez regarder l’enregistrement de / You can watch the recording of

TNT 2021-2022 (II) Florentina Armaselu

sur / on

 » Zoomable Text and the Metaphor of Scale in Digital Humanities « 

ici / here

Lecturer’s Further References & Notes:

Projets d’étudiant.e.s en humanités numériques (II) / DH Student Projects (II)

2020 – 2021 (II)

00:00-15:26  Jennifer Lefemine. « Wikipedia & Vikidia NLP for Children’s Readability » (Python Anaconda)

16:00-31:48 Ines Gillet: « Billboard’s Hot 100—Automatic Lyrics Analysis » (Python Anaconda)

32:00-44:20 Wendy Nain. « RegEx Idenitification in Archeology Documentation » (Python Visual Studio Code)

45:00-1:06:25 Break

1:06:26-1:19:01 Laetitia Xhrouet. « La Musique Belge » (HistoryPin Collection)

1:22:30-1:45:10 Thomas Windels: « The Liberation and Return of Belgian POWs from the Stalag 1A Camp. The Specific Involvement of the Soviet Forces in the Process » (Voyant Tools)

1:47:20-2:10:16 Théo Vaessen, André Pirovano, Hind Chniny. « Political Discourse on Twitter: an interlingual study on populism » (TweetBeaver & AntConc)

Le Lab Numérique DH@UCL Q2 2021-2022

LLN / DigiTAL Lab

Vous avez besoin d’aide ou souhaitez avoir une conversation sur le numérique ?

Rejoignez-nous  ! 

L’attribut alt de cette image est vide, son nom de fichier est LLN_Q1_2021-22-2-724x1024.jpg.

Mise à jour du 18 mai 2022. Le laboratoire se tiendra aujourd’hui en ligne à partir de 15h au lien suivant

Mise à jour du 11 mai 2022. Le laboratoire se tiendra aujourd’hui en ligne à partir de 15h au lien suivant

Mise à jour du 27 avril 2022. Le laboratoire se tiendra aujourd’hui en ligne à partir de 16h au lien suivant La semaine prochaine, vous êtes tous et toutes invité.e.s à une semaine complète d’événements sur le thème « Literature & Computation ». Voir les détails ici A très bientôt 🙂 !

Le Lab Numérique / DigiTAL Lab est de retour !

En présentiel et en distanciel (TEAMS)

tous les mercredis  

à partir de 15h

On commence nos réunions

ce mercredi (2 février)

en SOCR 25 (GPLO – PSP – FIAL) à 15h

Vous nous trouverez au SOCR 25 tous les mercredis de 15h à 16h.

Vous pouvez aussi nous envoyer un message / une question à l’adresse
et / ou
vous pouvez demander un rendez-vous en présentiel ou sur TEAMS avec nous à tout autre moment qui fonctionne pour vous et pour nous.

Au plaisir de rester en contact !

L’équipe de La Chaire Altissia
DH@UCLouvain (@UCLouvainDH)

#BelgianPoetryAnthology #Margento Nouvel épisode

Asymptote January 4, 2022

Translation Tuesday: Two Poems by Véronique Bergen

In our first Translation Tuesday feature for the new year, revel in two outrightly explosive and psychedelic poems by the Belgian poet, novelist, and philosopher Véronique Bergen. “I petal blue,” is how Bergen begins one of these poems and it is in this frenzied flowering of one’s subjectivity that we meet the speaker in their radiant and radical metamorphosis. Following her own warped and dynamic syntax, Bergen’s poems lay bare an “orgy of guns”: she construes a poetic world that riots our senses and, in her turbulent re-contextualisation of the technologies that engender this anarchy, refracts a history of global violence. Always, they combust with a frank and freakish sexuality. Translated by our very own Editor-at-Large for Romania and Moldova, MARGENTO brings to our readers the spectrum of technicolour brilliance and virtuosic world-building that is Bergen’s verse. 


Véronique Bergen was born in Brussels where she lives to this day. She is a writer, poet, philosopher, member of the Academy of French Literature (Belgium). Among her latest publications are: the essay collections Martha Argerich, L’Art des passages (Ed. Samsa) and Portier de nuit Liliana Cavani (Les Impressions nouvelles); works of fiction Ludisme précédé de Gainsbourg et Bambou (Le Cormier) and Icône H., Hélène de Troie (Onlit); and the poetry collection Alphabets des loups (Le Cormier).

MARGENTO (Chris Tănăsescu) is a poetacademic, and performer. He is currently working—together with John Taylor—on a computationally assembled Belgian poetry anthology. MARGENTO is Asymptote‘s Romania & Moldova Editor-at-Large. 

More here / Plus d’infos

See also a previous installment (from the forthcoming anthology) here / Voir aussi un épisode précédent (de l’anthologie à venir) ici.