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1. The ELO and Two E-Lit Exhibits

   After introducing the Electronic Literature Organization and some ways to
   characterize the concept of e-lit, I describe two small exhibits that
   worked well by taking the opportunities offered by two different contexts:

   Codings, an exhibit at the Pace Digital Gallery, Pace University, New
   York. Curated by Nick Montfort. Featuring work by Giselle Beiguelman;
   Commodore Business Machines, Inc.; Adam Parrish; Jörg Piringer; Casey
   Reas; and Páll Thayer. Gallery directors, Frank Marchese and Jillian
   Mcdonald. February 28 - March 30, 2012.

   Games by the Book, an exhibit at the Hayden Library, MIT, Cambridge,
   Massachusetts. Curated by Clara Fernández-Vara and Nick Montfort.
   Featuring work by Douglas Adams, Steven Meretzky, and the BBC; Charlie
   Hoey and Pete Smith; Jon Thackray and Jonathan Partington; and the
   Singapore-MIT GAMBIT Game Lab. September 7 - October 8, 2012.

   Jill Walker Rettberg - 02.11.2012 - 18:08

2. Writing Digital Media

   There has been quite a bit of debate about the relationship between games and fiction, with important discussions in Wardrip-Fruin and Harrigan's First Person, Jesper Juul's Half-Real, Marie-Laure Ryan's Avatars of Story, and others.  In parallel with this, a number of electronic literature authors have been creating games -- or at least playable experiences -- that have as their focus and reward for play an experience of story, such as Mateas and Stern's Facade, Emily Shorts Galatea, and Stuart Moulthrop's Pax.

   Audun Andreassen - 03.04.2013 - 15:32

3. Minecrafted Meaning: The Rhetoric of Poetry in Game Environments

   This essay is a synopsis of my fourth chapter from my dissertation. My research consists of game-poems and how they fundamentally alter the experience of “reading” poetry. Ultimately, my argument is that poetic experience is no longer initiated by text, but by the kinetic, audible, visual, and tactile functions in the digital environment that I label as trans-medial space; in effect, these functions sustain the poetry experience, and, thus, require the reader/user of the poem to play, rather than read, as a new form of “reading” the digital game-poem in order experience and interpret a poem’s meaning.

   Jill Walker Rettberg - 28.06.2013 - 09:05

4. Towards the Recognition of the Shell as an Integral Part of the Digital Text

   Although the theory of hypertext fiction does not regard the Shell as a text, writers of digital fiction, have long started to blurr the boundaries between the Reader and the “main” text. Both interpreters of (fictional) hypertexts and pt-ogrammers of hypertext-environments need to acknowledge this fact in order to accomodate current wrltlng practices.

   Jill Walker Rettberg - 28.06.2013 - 14:44