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1. Transforming Theoretical Textual Analysis into an Interactive Digital Game

   This paper will outline the material process and theoretical underpinnings whereby I turned a critical practice of reading a philosophical text, in this case Plato’s Phaedrus, into an electronic, interactive, Twine game. The game, called “Plato’s Phaedrus: a Memory Pharmacy,” is a rhizomatic dialogical game whereby players engage in a procedure of enacting verbal dialectics upon an interactive text that is interspliced with both Platonic passages and transcriptions of contemporary interlocutor's dialectical analysis upon the Phaedrus. The game is played on Twine, an open-source tool for non-linear storytelling. Players choose a character, either Socrates or Phaedrus, and begin by reading aloud scripted lines of the Platonic text. As the dialogue continues, it becomes unclear if the text has departed from the original Platonic dialogue as the content mixes in anachronisms and the style vears upon the colloquial. Soon conversation choices are introduced as players can choose which line to speak aloud, and thereby steer the dialogue in different conversational directions.

   June Hovdenakk - 29.08.2018 - 15:51

2. The Posthuman Poetics of Instagram Poetry

   Instagram poetry, a type of digital poetry is, as the name implies, poetry that is produced for distribution through the social media channel Instagram and most usually incorporates creative typography with bite size verses. 

   Instagram poetry can demonstrate the cultural impact of a posthuman cyborgian fluidity of borders and forms in that we essentially find ourselves left with anthropophagic texts - cannibalistic texts that remix, reuse and re-appropriate content. Digital texts can no longer be regarded as singular standalone objects rather they are constantly changing assemblages in which inequalities and inefficiencies in their operations drive them towards breakdown, disruption, innovation and change 

   sondre rong davik - 05.09.2018 - 14:54

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. 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

5. 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

6. All VR’s a Stage: The Aesthetics of Immersive Mixed Reality Theater

   Virtual Reality presents great promise as a storytelling medium, but rarely delivers on that promise because it is often approached as an offshoot of cinema. Virtual Reality as a narrative medium has much more in common with theater, using multi-modal narrative in a three dimensional space to tell the story. The possibility of multiple users sharing a virtual space simultaneously creates the opportunity for live performance, with one or more performers moving among and around the audience -- immersive theater within a computer-generated setting. This paper examines the aesthetics of this new space for digital performance. 

   We introduce a new type of performance activity, “Immersive Mixed Reality Theatre” (IMRT), which promises exciting possibilities for participatory immersive digital narratives. To explore the potential aesthetics of IMRT we created Holojam In Wonderland (2017), a short play inspired by the work of Lewis Carroll. It was built on the Holojam platform developed by the NYU Future Reality Lab, which enables both performers and audience to walk around with untethered VR headsets within the same room. 

   June Hovdenakk - 05.09.2018 - 15:29

7. Hypertropic Story Spaces: Ambient Literature in Practice.

   The Ambient Literature project explores situated digital storytelling as it responds to the presence of a reader. Within an Ambient Literary work, urban space is reconfigured as a paratextual site to be ‘read’ just as we read the form of a book; becoming the site for story.

   The foundation of the study are three commissioned works, each exploring an approach to the design and delivery of a digitally-mediated experience of urban space. These works, successively released in 2017 and 2018, comprise a research- by-practice approach to developing forms for digital writing – ‘It Must Have Been Dark by Then’, ‘The Cartographer’s Confession’ and ‘Breathe’ - each employ different approaches to the positioning role of the reader; the manner in which their presence is implicated in the construction of story; and the specific qualities of that presence within (and around) the works.

   Akvile Sinkeviciute - 05.09.2018 - 15:47

8. Digital Deep-Sea Diving: navigating the narrative depths of E-lit and VR

   Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different as water is from air, that takes over all of our attention, our whole perceptual apparatus. We enjoy the movement out of our familiar world, the feeling of alertness that comes from being in this new place, and the delight that comes from learning to move within it. 
   –Janet Murray, Hamlet on the Holodeck

   June Hovdenakk - 05.09.2018 - 15:52

9. Speech to text: between the real and the unreal

   Context aware technologies (Augmented Reality) allow for novel forms of interaction with physical environments. These technologies feature properties that allow information to be situated in the environment in a context aware manner. 
   There are diverse ways in which information can be integrated into the environment by such means. The Microsoft Hololens, and related technologies, allow the placement of virtual information in locations that are congruent with physically tangible objects and environmental elements. You may place virtual images onto physical walls, punch virtual portals through to other (virtual) spaces in actual floors, or place a virtual ball on a physical table so that when the table is tilted the ball will roll along the surface of the table and drop onto the floor, bouncing on impact. The virtual object and the physically tangible space the virtual object has been placed within are, within the logic of the system, of the same ilk. The imaginary and the tangible are merged in a novel manner. 

   Jana Jankovska - 05.09.2018 - 15:55

10. Tapping the Mind: Memories Beneath Your Fingers

    Memories are deeply rooted in the concrete: in space, gesture, and material objects. The cognitive processes of forgetting and recalling, the latter involving “action-oriented responses from a living subject to material triggers -- physical stimuli from external environment” (van Dijck 2007: 30), have not only been studied by neuroscientists, psychologists, and cognitive theorists, but have been addressed and examined by e-lit writers as well. 

    Susanne Årflot Løtvedt - 05.09.2018 - 15:58

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