Kristin Ørjasæter: "Hypermediacy in Garmann's summer"
Ture Schwebs: "The Numberlys: an interplay between history, urban life and technology in a children story app"
Ayoe Quist Henkel: "Motions in digital young adult literature"
Nolwenn Tréhondart and Émilie Barbier: "Remediating a hyperfiction in ePub3: when digital literature meets publishing models. The case of children’s literature with The Tower of Jezik"
Lucas Ramada Prieto: "Reading Apps: an exploratory research on children's e-lit reading profiles"
Kamil Kamysz and Marcin Wichrowski: "Between paper and touchscreen: building the bridge with children's book"
Agnieszka Przybyszewski: "To teach reading by playing (with) the literary wor(l)d. On Kid E-literature and Literacy"
Lucile Haute, Alexandra Saemmer, Aurelie Herbet, Emeline Brulé and Nolwen Trehondart: "Digital artists books and augmented fictions: a new field in digital literature?"
Søren Bro Pold, Christian Ulrik Andersen and Jonas Fritsch: "Literary Interaction In The Age Of The Post-Digital"
Kathleen Berens: "Touch and Decay: Tomasula's _TOC_ on iOS"
Leann Erickson: "Top Secret Rosies project: Interactive History"
Sandy Baldwin: "Literary Spamming in Games: Cold Dust in Lord of the Rings Online and Endgame in Counter-Strike"
Rob Wittig: "Jokes, Prompts and Models: Engaging Player Collaboration in Netprov"
Mark Marino: "A Workbench for Analyzing Electronic Literature"
Watch video of session here: https://mediasite.uib.no/Mediasite/Play/0279edd647ef4a8ebef3183f7fb101df1d?catalog=32d41cb3-5cd7-489f-bd55-f8f2b08528f9
The 2015 ELO Conference’s call for papers states that "[e]lectronic literature is situated as an intermedial field of practice, between literature, computation, visual and performance art. The conference will seek to develop a better understanding of electronic literature’s boundaries and relations with other academic disciplines and artistic practices."
This roundtable discussion, led by both established and emerging e-lit scholars and artists, will explore the idea of electronic literature as an intermedial practice, looking at the topic from a wide range of forms including literature, performance, sound, computation, visual art, and physical computing. Drawing upon artistic work they have produced or studied, each panelist will provide a five-minute statement that touches on qualities related to intermediality like hybridity, syncretism, and collaboration. Following this series of brief presentations, the panelists, then, encourage engagement in a wider conversation with the audience.
Because it is our contention that multiple media in combination in a work of art provide endless opportunities for innovation, contemplation, and “fresh perspectives” (Kattenbelt), rendering the notion of an “end” impossible to reach, the goal of the panel is to engage the ELO community in a discussion about the shifting boundaries of electronic literature and its ongoing development as an art form.
More specifically, Aquilina’s paper will explore how ‘literary eventhood’ may occur in works which, in different ways, fall under the nomenclature associated to electronic literature. Callus’s paper, on the other hand, will focus on the concept of the ‘literary absolute’ to try to discover whether it could bear any consequentiality to current understandings of electronic literature. While both papers will show an awareness of the potential ‘category mistake’ that this may involve, they argue that such attempts are fundamental in discussions of the ‘ends’ of electronic literature. Calleja’s paper will also seek to extend or trespass definitional restrictions by emphasising on the role of imagination in contemporary indie games, which highlights a continuity between print, electronic texts and cybertexts that we too often take for granted.
The approaches being proposed are not colonising discourses. Rather than simply applying terms from literary studies or from game studies to examples of electronic literature, they start from electronic literature (or some modes in which it functions) to speak about concepts which may potentially have a wider scope than it. Our interventions in electronic literature from peripheral starting positions will operate with both the risks and the potential originality that such approaches may bring.
Jim Brown: "A Stitch in Twine: Platform Studies and Porting Patchwork Girl"
Odile Farge: "Can we define electronic literature such as authoring tool literature?"
Alex Mitchell and Tiffany Neo: "Beneath the Surface: System Representation and Reader Reception in Electronic Literature"
Christine Wilks: "The Interactive Character as a Black Box"
In this roundtable we propose to present and discuss those aspects and goals of the project NAR_TRANS (University of Granada, website under construction) that are more relevant for ELO and the conference. Nar_Trans aims to build an active and relevant research core in the Spanish I+D+i system able to become part of the international research network on transmedial narratives & intermediality.
This academic network also aims to become a gathering place for fellow researchers, students and creatives, by different actions, such as the organization of meetings, seminars and workshops or the mapping of the Spanish transmedial productions through a web critical catalogue, with a view to the most outstanding works in Latin America. The project holds also the first university prize for young transmedia creatives as well as the publication of an e-book with a selection of essays on transmediality at the crossroads of Literary, Cultural and Media Studies.
Caitlin Fisher and Tony Viera: "Chez Moi: lesbian bar stories from before you were born"
Steven Wingate: "Talk with Your Hands Like an Ellis Island Mutt: A Recombinatory Cinema Toolkit"
Penny Florence and Paolo Totaro: "Inextrinsix: multilingual, collaborative digital poems"
Jason Lewis: "Written. Not Found. Not Generated. Not Random."
Stuart Moulthrop: "Electronic Literature and the Public Literary"
Rob Wittig: "We Interrupt For This Breaking Story"
Patricia Tomaszek "Publishing without a Publisher’s Peritext: Electronic Literature, the Web, and Paratextual Integrity"
Practices of public and performative electronic writing connect our arts movement to important sites of social transformation, beginning with the resistance to neoliberalism in government and the academy, and potentially touching larger questions about relations of mass and elite culture.
Lello Masucci and Roberta Iadevaia: "The Electronic Literature, how, when, where"
Philippe Bootz: "The Myth of the End of a Myth"
Mette-Marie Zacher Sørensen: "E-literary Diaspora – the story of a young scholars journey from writing to faces"
Claudia Kozak: "Latin American Electronic Literature and its Own Ends"
Eman Younis: "Interaction between art and literature in the Arab digital poetry and the issue of criticism"
Kwabena Opoku-Agyemang: “Sankofa, or Looking Back while Moving Forward: An African Case for E-Lit”
Simon Biggs: "A Language Apparatus"
John Cayley: "Aurature and the End(s) of Electronic Literature"
The medium of literature is language. And yet this statement encapsulates a confusion, as if the art of language could be entirely encompassed by an art of letters. The future historical role of electronic, computational affordances should be that of enabling artists and scholars of language to overcome long-standing misapprehensions concerning literature and writing, but not by replacing literacy with digital literacy. Programmable media will enable us to discover that aesthetic, artifactual language-making takes place also and more surely in the world of aurality, in the world of what we can hear and, in particular, of what we can hear as language, engendering an aurature within which language may be better comprehended as an artistic medium.
Jeremy Douglass: "The Many Ends of Network Fictions: Gamebooks, Hypertexts, Visual Novels, Games and Beyond"
Angus Forbes: "'Till Algebra is Easier —': Elements of Computation in the Poems of Emily Dickinson"
Elizabeth Losh: "Reading, Seeing, and Sensing: The Internet of Things Makes Literature"
Maria Mencia: "Data Visualisation Poetics"
Renato Nicassio: "The S.I.C. method and the Great Open Novel: an unconventional method for a conventional end"
Mariusz Pisarski: "From 'The Unknown' to 'Piksel Zdrój'. Collaboration in e-literature: models, newcomers, predictions"
Kate Pullinger: "Letter to an Unknown Soldier: a participatory writing project"
Heiko Zimmermann: "Electronic Literature as a Means to Overcome the Supremacy of the Author Function"
Jonathan Baillehache: "Abandoned and Recycled Electronic Literature: Jean-Pierre Balpe’s 'La Disparition du Général Proust'"
Chris Rodley: "Boolean poetics: the search string as post-literary technique"
Mia Zamora: "The Generative Literature Project & 21st century Literacies"
Melissa Lucas: "Bringing Scandinavian E-Lit in from the Edges"
Patricia Tomaszek and Aud Gjersdal: "Archiving Electronic Literature Beyond its End: Archiving Nordic Works at an Academic Library, a Presentation of a Collaboration in Progress within the University of Bergen"
Nick Montfort: "Renderings: An E-Lit Translation Project"
Aleksandra Małecka and Piotr Marecki: "Literary experiments with automatic translation. Case study of a creative experiment involving King Ubu and Google Translate"
José Molina: "Translating E-poetry: Still Avant-Garde"
Listed as one of the main themes of the Bergen 2015 ELO Conference is the question:
Is “electronic literature” a transitional term that will become obsolete as literary uses of computational media and devices become ubiquitous? If so, what comes after electronic literature?
The notion of obsolescence has been a recurring issue in electronic literature since at least 2002, at the ELO Conference at UCLA. At that time, archiving became a general concern in the field. ELO responded with documents such as *Born-Again Bits*, *Acid-Free Bits*, and the ELC 1 and 2 Collections. Since that time, with the continual evolution of computational media and devices, the problems of archiving have continued to grow more complicated. The panel proposes to address issues of Archiving based on this re-wording of the conference theme: Is electronic literature a transitional practice that will become obsolete as the multiplication of forms of both computational media and devices make literary artifacts more and more difficult to preserve?
The panel will include Leonardo Flores and the ELC 3 Collective, Marjorie C. Luesebrink (M.D. Coverley), Rui Torres, and Stephanie Strickland. Topics to be addressed by the Panel will include: Stephanie Strickland, "Six Questions for Born-Digital Archivists"; Rui Torres, "Interfacing the Archive: (Ab)Using the PO.EX Digital Archive"; Leonardo Flores/Stephanie Boluk/Jacob Garbe/ Anastasia Salter, "The Electronic Literature Collection Volume 3 (ELC3) Editorial Collective presentation"; Marjorie C. Luesebrink, "The creation of *Women Innovate: Contributions to Electronic Literature (1990-2010)* by Marjorie Luesebrink and Stephanie Strickland".
Maria Angel and Anna Gibbs: "Digitising Ariadne’s Thread: Feminism, Excryption, and the Unfolding of Memory in Digital spaces"
Maria Goicoechea and Laura Sanchez: "Female voices in Hispanic Digital Literature"
Natalia Fedorova: "Digital Letterisms"
Sandra Guerreiro Dias and Bruno Ministro: "Performance art, experimental poetry and electronic literature in Portugal: an intermedial archive to an intermedial practice of language"
Flourish Klink: "Fandom Vs. E-Lit: How Communities Organize"
Piotr Marecki: "'The Road to Assland': The Demoscene and Electronic Literature"
Zenon Fajfer and Katarzyna Bazarnik: "Zenon Fajfer's EYELIDS_Book of Emanations"
John Cayley: "Monoclonal Microphone: The Movie"
Dene Grigar and Greg Philbrook: "Curlew"
Judy Malloy: "The Not Yet Named Jig"
Nicola Harwood, Fred Wah, Jin Zhang, Bessie Wapp, Simon Lysander Overstall, Tomoyo Ihaya, Phillip Djwa, Thomas Loh, Hiromoto Ida and Patrice Leung. High Muck a Muck: Playing Chinese.
Jose Aburto. Small poetic interfaces – the end of click.
Francisco Marinho and Alckmar Santos. Palavrador.
Jakub Jagiełło and Laura Lech. Labyrinth
Donna Leishman and Steve Gibson: "Borderline"
Kristian Pedersen and Audun Lindholm: "Waves"
Zuzana Husarova: "Any Vision"
Simon Biggs "Crosstalk"
John Cayley: "To Be with You"
Hazel Smith and Roger Dean: "text, sound, electronics, live coding"
Ottar Ormstad, Taras Mashtalir and Alexander Vojjov: "3 CONCRETE: LONG RONG SONG, NAVN NOME NAME, kakaoase"
Taras Mashtalir and Natalia Fedorova: "Machine Libertine"
Veli-Matti Karhulahti: "Rhematics and the Literariness of Electronic Literature"
Anastasia Salter: "Ephemeral Words, Ephemeral People: Suicide and Choice in Twine Games"
Fox Harrell, Dominic Kao and Chong-U Lim: "Toward Understanding Real-World Social Impacts of Avatars"
Clara Fernandez-Vara "Digital Games: the New Frontier of Postmodern Detective Fiction"
John Barber: "Remixing the under language"
Hazel Smith: "Digital manipulation of the voice in new media writing"
Roger Dean: "Sound Composition for Intermedia"
This panel responds to the conference theme: "The end(s) of electronic literature" with three approaches, in theory and practice, for the use of sound as the basis for new forms of electronic literature.
These approaches are sound composition for intermedia, digital manipulation of the voice in new media writing, and remixing the under language of pioneering works of electronic literature. Each panel participant will present and discuss one of these different approaches.
Historically, sound has been overlooked, or worse, ignored, as a component of electronic literature. The "end(s)" of eLit explored in this panel may provide new and interesting opportunities, however, to investigate and ameliorate this oversight.
In brief, this panel argues that live coding and live algorithms for generative text and sound, along with digital manipulation of voice, offer new approaches to new media writing. These can also be mixed or remixed with previous content and/or techniques to provide new forms of eLiterature.
Todd Taylor: "The Publishing Platform is the Message"
Andrew Morrison: "Melting Reality at the Ends of the Earth: Co-fictioning Arctic Futures"
Cheryl Ball & Andrew Morrison: "Cairn: An Academic Publishing Platform for Scholarly and Creative Multimedia"
As electronic literature resides at the boundaries of the literary, creative, critical, and computational, and blurs into fields such as cinema and media studies, critical theory, art, computer science, rhetoric, and design, the speakers in this session wish to bring these boundaries into conversation and speak to ELO’s call to question the ends of electronic literature. The speakers will focus on digital media production and publication in documentary, narrative, and scholarly multimedia genres, attending to the ways these genres intersect with histories and futures of electronic literature. They will discuss the pedagogical, speculative, and scholarly aims of these creative screen-based texts to push on the ends of non-transdisciplinarity and to engage with boundary crossings between ELO into the speakers’ respective fields of rhetoric and composition studies, interaction design, and publishing studies. Our aim will be to showcase how specific screen-based genres within these disciplines are published in traditional and nontraditional outlets. This collection of talks will provoke the question of what counts as publishing beyond the ends of electronic literature and related media-filled and screen-based texts.
Steven Wingate: "Watching Textual Screens Then and Now: A Cinema/E-Lit Conversation"
Ariane Savoie: "Fill in the Blanks: Narrative, Digital Work and Intermediality"
Rachael Katz "The Poets' Dream Database"
Jose Aburto: "Murmurs, open corpus of online written poetry – the end of isolated poems"
David Devanny: "Guardians of the Gutenberg Galaxy: a Cultural Analysis of Resistances to Digital Poetries"
Simone Murray: "The Public Life of Electronic Literature: Writers’ Festivals Online" (Full paper, docx format)
Lyle Skains: "The Practice of Research: A Methodology for Practice-Based Exploration of Digital Writing"
Donna Leishman: "The Challenge of Visuality for Electronic Literature"
Johannah Rodgers: "The Message is the Medium: Understanding and Defining Materiality in Representational and Communicative Practices Across Media"
Markku Eskelinen: "It Is the End of the World as We Know it and I Feel Fine"
Sandra Bettencourt: "Is it just a little bit late for the future of electronic literature?"
Diogo Marques: "The Endgame for Electronic Literature?"
Ana Marques da Silva: "Without Begining or End: Reading and Writing in Generative Literature"
"It is too easy to fall into prognostications of electronic literature as the end of literature or as a new beginning. (...) Such views imply too much teleology, and see electronic literature purely as the unfolding of the possibilities of the apparatus. The rhetorical logic at work is literalization, i.e. taking literary works as the sum of their technical features."
Rui Torres & Sandy Baldwyn, eds. "PO.EX: Essays from Portugal on Cyberliterature and Intermedia". Morgantown, WV: Center for Literary Computing, 2014, pp. xv-xvi.
Our panel title, adapted from Manuel António Pina's poetry book (1), serves to interrogate our notions of literary art today, when we consider its current production and distribution through various media (printed codex, programmable media, digital platforms, Internet, social networks). The ironical paradox contained in the phrase “it is just a little bit late” seems to suggest the idea that not much has changed despite the so-called “big changes” (in the case of Pina, it is relevant to know that his work was published in 1974, the year of the Portuguese revolution). Taking his ironical premise into the field of literature, it is legitimate to ask ourselves how literary art has changed across these media incarnations, how meaningful is “the electronic” for a definition of literature, what changes are actually significant, and how they impact on notions of author, work, reader and literary experience. The papers in this panel offer three perspectives on the end(s) of electronic literature and they may be described as attempts to de-literalize its technical apparatus.
(1) Manuel António Pina (1943-2012). The title of his poetry book is "Ainda não é o fim nem o princípio do mundo calma é apenas um pouco tarde" [“It’s not yet the beginning or the end of the world remain calm it’s just a little bit late”]. This book was originally published in 1974.
A session of short artist's talks about the works they are exhibiting in the show.
The video-essay features interviews with 17 electronic literature scholars and practitioners including Mark Amerika, Simon Biggs, Serge Bouchardon, J. R. Carpenter, John Cayley, Cris Cheek, Maria Engberg, Jerome Fletcher, Maria Mencia, Nick Montfort, Jörg Piringer, Jill Walker Rettberg, Scott Rettberg, Alexandra Saemmer, Roberto Simanowski, Christine Wilks, Jaka Železnikar.
The video can be viewed online at the following URL:
Co-teaching an online course at UnderAcademy College, Chris Funkhouser and Sonny Rae Tempest co-authored the libretto Shy nag by applying a series of intensive digital processes to a piece of hexadecimal code (derived from a .jpg image).
Shy nag, after a year of intensive deliberations with regard to media application in a performance setting, is now a multimedia, “code opera” that transforms (repurposes) the same piece of code to add visual display (scenery) audio component(s) to the work.
In Shy nag, Microsoft Word and numerous other programs and processing techniques have a non-trivial presence in the composition. Software serves as a type of interlocutor that sustains the writers’ experimental objective—a time-consuming process blends creative and uncreative. The exercise also contains destructive qualities as the code migrates to language, image, and sound—although the authors prefer foregrounding its multi-level transformative properties.
Allowing the software to dictate and steer the direction of this type of writing serves to endow the dialog with unexpected vocabulary and unforeseeable textual encounters in which compositional decisions must be made. Combining authorial rules with subjectivity, one “text,” through programmatic filtering, expands into another and is also applied to create media effects. Despite the use of software programs (and different versions of programs) to conduct text, the number of hours humans spent shaping it is extensive.
Kjell Theøry will be a site-specific mobile Augmented Reality poem mapped visually to geo-spatial coordinates in a public outdoor space in Bergen. The work responds to historical and fictive narratives of Norway as a landscape for exile and escape in conjunction with writings and memories from my residency as a Fulbright Scholar in Bergen last year. It will be accessible for viewing with internet-enabled smart phones and tablets throughout ELO 2015 and will be activated by a brief live event in which I manipulate and read from the virtual space and generate additional material by scanning augmented tattoos on the body of a local male performer. This work evolves out of my AR installation in June 2014 at the Bergen Bibliotek, The Empty House, but will be a substantially new iteration.
