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1. Hybrid Praxis and Collaborative Culture in an E-Lit Classroom

   In this paper, I share my experiences and some strategies developed while teaching my first E-lit course at a small urban liberal arts college. Mills College at that moment, had no campus digital curricular resource center for faculty or students and the English department’s approaches to digital humanities were, by necessity, hyper local and “small batch.” As the first E-lit course offered at Mills it was designed to be both an introduction to E-literature and criticism, and to literary critical practices and it was also to have a creative component that allowed students to develop their own born-digital projects. 

   The course drew students from literature and creative writing majors and non literature majors and enrolled both graduates and undergraduates. It was an exuberant group who brought a tremendous range of skills to the table. Figuring out how to teach this cohort and this material was a creative-critical challenge of its own. E-lit as topic and medium invited me to think in new ways about my pedagogy. 

   June Hovdenakk - 05.10.2018 - 12:55

2. Seduced by the Gap: Writing (E-Lit) Criticism into Crisis

   This paper invites the “dangerous vertige” once brought on by the “endless oscillation of an intersubjective demystification” at the heart of the crisis of literary criticism famously illuminated by Paul de Man in 1967. I investigate two conventions of writing e-lit criticism (and digital art criticism). The first utilizes the figure of the participating observer/reader in a phenomenological narrative that serves as a textual or formal analysis of the primary object. The conjuring of such a figure is often necessary to the articulation of e-lit’s capacity to deliver us from a finite and single text, in a way that hearkens back to critiques of the fallacy of a finite and single interpretation.

   June Hovdenakk - 05.10.2018 - 13:22

3. RPG Maker as an E-Literature Platform

   In the late 1990s, a unique piece of software was released for the Sony PlayStation by ASCII. Simply called RPG Maker, it was the English-language localization of the third entry in Japan’s RPG Tsukuru series. RPG Maker wasn’t a game so much as a platform for the creation of other games, specifically those in the vein of early 1990’s Japanese-style role-playing games. Due to the platform’s technical issues, mainly the lack of direct internet access and the storage limits of Sony’s proprietary memory cards, RPG Maker presented the amateur game developer with many hurdles to overcome in the creation of anything interesting and unique. 

   Not long after its release, small communities of RPG Maker users sprung up around online forums such as GameFAQs or RPG Maker Pavilion. These communities gave budding developers an opportunity to share their work with each other. Using a third-party peripheral for the PlayStation called a “DexDrive,” creators could image their memory cards and share these files online, files that users (usually fellow creators) could download and flash onto memory cards of their own to play. 

   June Hovdenakk - 05.10.2018 - 13:52

4. Sounds, Noises and Voices: Interdisciplinary Perspectives II

   Sounds, Noises and Voices: Interdisciplinary Perspectives II

   Chiara Agostinelli - 15.10.2018 - 01:28

5. Coping with bits: Abby Adams

   Abby Adams discusses the challenges from the perspective of an archive, providing insights into the specific role of an institution’s archive in regards to making works accessible to the public.

   Carlos Muñoz - 15.10.2018 - 19:17

6. Coping with bits: Dene Grigar

   Dene Grigar begins by detailing the challenges that current archival practices pose for preserving electronic literature. Examples from various library collections and experiences with preparing works for archives in her own lab help to foreground the problems needed to be solved.

   Carlos Muñoz - 15.10.2018 - 19:21

7. Coping with bits: Leonardo Flores

   Leonardo Flores introduces the ELO’s initiative to preserve works of e-lit at the Electronic Literature Archives (ELA) and the white paper the committee is developing for others interested finding sustainable ways to make e-lit accessible for long-term use to the public.

   Carlos Muñoz - 15.10.2018 - 19:26

8. CELL Project Meeting

   A project meeting with members of CELL.

   Hannah Ackermans - 28.11.2018 - 14:59

9. Third Generation Electronic Literature

   We are witnessing the emergence of a third generation of electronic literature, one that breaks with the publishing paradigms and e-literatury traditions of the past and present.

   N. Katherine Hayles first historicized electronic literature by establishing 1995 as the break point between a text heavy and link driven first generation and a multimodal second generation “with a wide variety of navigation schemes and interface metaphors” (“Electronic Literature: What Is It?”). Even though Hayles has since rebranded the first wave of electronic literature as “classical,” generational demarcations are still useful, especially when enriching the first generation with pre-Web genres described by Christopher Funkhouser in ​Prehistoric Digital Poetry​ and others. My paper redefines the second generation as one aligned with Modernist poetics of innovation by creating interfaces and multimodal works in which form is invented to fit content.

   Hannah Ackermans - 04.12.2018 - 13:40

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