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1. Harlowe-quin Romance: Subversive Play at Love (and Sex) with Twine

   model that its own authors rebelled against: “Harlequin thought of everything--except the readers, the authors, and the creative freedom which has traditionally been the cornerstone of literature in Western culture. This publishing giant molded romantic aspirations into super-rationalist forms of communication, the very antithesis of the readers' desires” (“Romance in the Age of Electronics: Harlequin Enterprises,” Feminist Studies 11.1, 54). This description of “molded” aspirations is not so different from the genre molds that dominate the landscape of mainstream gaming: the engines powering franchises place the same inescapable stamp as the Harlequin formula. Romance novels themselves have transformed in the wake of the “e-zines, chat rooms, and bulletin boards” (and their descendants) bringing authors and fans into direct dialogue (Rosalind Gill and Elena Herdieckerhoff, “Rewriting the romance: new femininities in chick lit?” Feminist Media Studies 6.4, 2006).

   Amirah Mahomed - 05.09.2018 - 15:02

2. Minding the Gap for Online Book Illustrations

   Illustrations play a pivotal role in the culture of the book, which is shifting with the mass digitization of images and entire books in our digital age. For those who study and teach with book illustrations from the Renaissance to the early twenty-century, browsing for this type of visual primary source presents contextual difficulties. Problems range from the misattribution of illustrations to the inability to use the images altogether. 

   (Source: Author's description from ELO 2018 site: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/1234/Minding+the+Gap+for+Online+Book+Illustrations)

   Linn Heidi Stokkedal - 05.09.2018 - 15:03

3. Stalking, Shredding, and Streaming: Reading E-Lit Through Artists’ Alternative Web Browsers

   Alongside the emergent commercial browsers of the late 1990s, several artists made alternative browsers that articulated other ways of conceptualizing a global network of electronic documents, and stood in relief to the particular electronic textuality manifest in browsers like Netscape Navigator and Microsoft’s Internet Explorer—a hypertext imaginary that still deeply informs the predominant browsers of today. Post presents research into three such works: The Web Stalker (1997) by the artist collective I/O/D, Shredder (1998) by Mark Napier, and netomat (1999) by Maciej Wisniewski. 

   Post will draw on interviews with the artists and art historical analytical methods to describe the development, functioning, and long-term impact of these works. In particular, Post considers the ways in which these artists’ browsers can inform the study and practice of electronic literature.

   sondre rong davik - 05.09.2018 - 15:05

4. Engineering Language: Electronic Literature, the “Value” of Words, and the Teaching of College Writing

   Since the widespread adoption of the printing press, we have been writing with and for machines. However, the ways in which and the extent to which machines could participate in acts of writing have changed over time. We have now reached a point where machines play an active role not only in the reproduction and distribution of writing, but in its production and, even, at times, in its creation and composition. As we find ourselves more and more writing with and for machines, there is the possibility that compositional functions once assigned uniquely to humans can be outsourced or automated.

   Li Yi - 05.09.2018 - 15:06

5. What We Offer You Is More or Less The Sum of Its Parts : The Human in the In My Computer Book Series.

   From 2011 to 2016, under the guise of editor Domenico Quaranta, small-house publisher Link Edition published the series In My Computer. The premises is self-explanatory; each author has to amalgamate the contents of what will eventually become a material book (printed through the self-printing service Lulu) using contents gleaned and selected from the artists' personal computers. The results are varied and confounding; from Miltos Manetas' haphazardly garnered manifestos and musings to Martin Howse's mammoth-sized compendium of code lines compiling every operation processed by his computer in the span of the month of June 2011, to the screen-grabs of Ubermorgen and the quotidian color-coding of every Web page accessed by Greg Leuch for months, to mention a few examples, every entry in the In My Computer series attempts to radicalize what it means to reify a computer in book form. 

   Linn Heidi Stokkedal - 05.09.2018 - 15:10

6. Narrating the City in Augmented Aur(e)ality

   The idea of walking as the practice of narrating the city constitutes the recurrent theme of Michel de Certau’s “The Practice of Everyday Life:” the pedestrian activity is repeatedly compared to or described as “enunciation,” “enunciatory operations,” “statements” and “stories”. According to the French sociologist, “[t]he act of walking is to the urban system what the speech act is to language or to the statements uttered” (de Certeau 1988: 97). The story of spatial practices “begins on ground level, with footsteps” (de Certeau 1988: 97) and “the art of >>turning<< phrases finds an equivalent in an art of composing a path (tourner un parcours)” (de Certeau 1988: 100). It might well be said that walking in the city represents not only the very prototype of ergodic literature (Aarseth 1997) but also predates the notion of augmented reality in its technological sense.

   Susanne Årflot Løtvedt - 05.09.2018 - 15:12

7. Narratologize it, Don’t Criticize it: feat. With Those We Love Alive

   There is a moment in Porpentine’s With Those We Love Alive (2014) when we must choose whether to join a murderous mob (albeit one murdering soft, pink, kitten-like “princess spores” that have spawned from a Skull Empress). It serves as a prompt to read digital narratives of choice – often, binary ones – in light of the intensely binarized socio-political moment more broadly.

   Amirah Mahomed - 05.09.2018 - 15:13

8. Metainterface Character

   These projects ultimately portray a bleak picture of a metainterface industrial control of literacy and of how literature, art and aesthetics is commodified and instrumentalized. However, they also point to how literature potentially becomes sites of critical reflection of the way reading-writing is encased in a big data drama. In this way, they point towards redesigning and rewriting the metainterface character. 

   sondre rong davik - 05.09.2018 - 15:21

9. Broken Windows and Slashed Canvases: Digital Comics and Transgressive Horror

   I investigate digital horror comics as a case study in anxieties about the boundaries between fiction and reality provoked by the remediation of print media forms, such as text or comics, as digital media forms. Because the horror genre often deals with questions of transgression and boundaries, and because the frightening fictions depicted in horror media raise the stakes on questions of the boundaries between media and reality, horror it is a fruitful site for exploring assumptions and anxieties about the boundaries of media. This paper uses Noel Carroll's framework of “art horror” to examine digital horror comics by three authors: Studio Horang's Bong-Cheon-Dong Ghost (2011), Ok-su Station Ghost (2011) and Ghost in Masung Tunnel (2013), Emily Carroll's Prince And The Sea (2011), When The Darkness Presses (2012) and Margot's Room (2011), and Kazerad's Prequel (ongoing). These comics all make use of uniquely digital elements, such as “infinite canvas” pages of different sizes, animation, and sometimes sound, to subvert the reader's expectations and create horrific effects.

   Linn Heidi Stokkedal - 05.09.2018 - 15:24

10. There’s An Other Gap in Play

    Twine’s accessibility and ease of use have allowed more people to write and develop videogames. Merritt Kopas writes in Videogames for Humans: “Twine’s financial and technical accessibility are major reasons for its broad adoption, especially among economically marginalized, nontraditional game designers...” (10). These ‘nontraditional game designers’ have produced an influx of narrative and gaming content, and, as Stuart Moulthrop notes, despite the fact that Twine games can be seen “as an evolution from literary hypertext in the late 1980s,” many in the Twine community insist they develop games, not electronic literature (2016). This defiance should not go unnoticed, as Moulthrop asserts: “This resistance is important... Their return to the story/game problem implies a working- through of earlier issues, if not clear dialectical progress. Their willing embrace of the ludic also signifies an ability to stand among and against hegemonic interests like the videogame industry” (2016).

    Amirah Mahomed - 05.09.2018 - 15:26

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