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1. Distributed Authorship and Creative Communities (conference paper)

   In its requirement for both an author and reader art can be considered a participatory activity. Expanded concepts of agency, such as in actor-network-theory (Latour 2005), question what or who can be an active participant, allowing us to revisit the debate on authorship from a new perspective. We can ask whether creativity might be regarded as a form of social interaction rather than an outcome. How might we understand creativity as interaction between people and things, as sets of discursive relations rather than outcomes? Whilst creativity is often perceived as the product of the individual artist, or creative ensemble, it can also be considered an emergent phenomenon of communities, driving change and facilitating individual or ensemble creativity. Creativity can be a performative activity released when engaged through and by a community and understood as a process of interaction. In this context the model of the solitary artist who produces artefacts which embody creativity is questioned as an ideal for achieving creative outcomes. Instead, creativity is proposed as an activity of exchange that enables (creates) people and communities.

   Simon Biggs - 21.09.2010 - 10:49

2. Dutch digital literature

   This presentation gives an overview of Dutch and Belgium communities of creators of digital literature. Van Dijk elaborates on the question of the government-funded initiatives in the Low Countries and the results of these, and the possible effects of funded communities on the content of the work.

   yra van dijk - 21.09.2010 - 11:15

3. Hypertext Fiction from 1987-1999

   I will outline the development of the hypertext fiction community that developed from the late eighties and onwards. This community was separate from the interactive fiction community (and largely thought of its works as different from “games”) and largely revolved around the use of Storyspace, a software tool for creating electronic literature, and later, around Eastgate, a publisher of hypertext fiction and the company that developed Storyspace. While some work was written and published in Hypercard and other systems, the technology of a dominant software authoring tool and of the mechanics of distribution (diskettes sold by mail order) formed the hub of the electronic literature community during this period. There was little or no communication with other communities, such as the IF community or digital art communities. With the advent of the web, new authoring and distribution channels opened up, and this hub gradually lost its dominance. The transition from this relatively centralised and explicit community to the networked communities and scattered individuals of the web is an interesting one to explore.

   Jill Walker Rettberg - 21.09.2010 - 11:26

4. Digital Literature in France (conference presentation)

   The presentation briefly retraces the history of electronic literature in France, emphasizing the various literary and aesthetic tendencies and the corresponding structures (groups, magazines, etc.). The focus then shifts to French electronic literature communities. The presentation notably provides an account of a study that Bouchardon did in 2004-2007 for the Centre Pompidou in Paris (study included in the book "Un laboratoire de littératures", http://editionsdelabibliotheque.bpi.fr/livre/?GCOI=84240100044550). He analyzed a "dispositif" (mailing list, website, meetings) called e-critures, dedicated to electronic literature, with the hypothesis of the co-construction of a "dispositif", a field and a community. The presentation concludes with the possible characteristics of electronic literature in France (which might not be specific to France), both from a literary and from a sociological point of view.

   Serge Bouchardon - 22.09.2010 - 07:50

5. From ALAMO to Transitoire Observable: evolution of the French digital literature

   The presentation provides a historical overview of the evolution of electronic literature in France from the ALAMO group, an outgrowth of the OULIPO focused on combinatory aesthetics, through to the present day.

   Scott Rettberg - 03.10.2010 - 22:28

6. The International Interactive Fiction Community

   In this talk, I describe some details of how these communities have functioned over the years: What forums, chat systems, publications, competitions, directories, archives, and other sorts of institutions and traditions are used to build new aesthetic appreciations of IF, to enable people to learn more about programming, design, and writing, and to to connect IF authors and players. My analysis, which draws on my experience as a member of “the IF community” while also considering online artifacts and discourses could be helpful in other electronic literature communities. It will also consider how existing community activity could help to connect IF more effictively with poets, fiction writers, artists, and and others who work in creative computing.

   Patricia Tomaszek - 15.10.2010 - 16:51

7. The Poetry Beyond Text Project

   This presentation gives an overview on the research project "Poetry Beyond Text: Vision, Text and Cognition" (2009 – 2011), funded by the U.K. Arts and Humanities Research Council, emphasizing areas of potential connection with ELMCIP, and raising issues relevant to electronic literature.

   Patricia Tomaszek - 15.10.2010 - 16:52

8. Case Studies in American Creative Communities

   Author's abstract: Everyone wants to be a part of community -­? but someone has to break the ice and establish the infrastructure. What are the physical, behavioral and interpersonal strategies and tactics that lead to the success of four American creative communities: Invisible Seattle, Persimmons & Myrrh, Chicago Lit Dinners, and Imperial Quality Media? Answers include: food, timekeeping, meeting facilitation, psychological tenderness, seating arrangements, theatricality and deep shag carpeting.

   Patricia Tomaszek - 15.10.2010 - 17:00

9. Supercritical Creativity

   Creative works are treated as a form of property in as much as they are subject to intellectual property laws (IPRs), like copyright. Owning IPRs can therefore be very lucrative and owning the copyrights a key part of what constructs a market in creative works. But creative processes differ from those embedded in a factory or machine (which in certain sense can be considered condensed physical labour) in that it is the processes or outputs of creative thought itself that is being transferred into the IPRs. The thinking actions of the creative actor (and sometimes the tacit knowledge of the workers whose skills are being encoded) are abstracted into the IPR (sometimes through the absorption of the tacit knowledge of experts) and then encoded (stabilized) within the IPR. This is what Hardt and Negri (2000) named “immaterial labour’”, pointing to the way in which contemporary capital increasingly requires that our intellectual labour is alienated in postmodern capitalism.

   Patricia Tomaszek - 15.10.2010 - 17:05

10. Catalonian Electronic Literature Communities

    Starting with the famous last words of Hamlet “and the rest is silence”, I would like to introduce the Catalan e-­?lit communities and their experience of Digital Literature. The Hermeneia Research Group has been one of the pioneers in the field in Spain and has been developing many different activities for the last 10 years. Lately it has been promoting a public debate in Literary Societies on Digital Literature (we will comment the last examples: Premis Octubre in Valencia, 2009, Catalan and Castillian Association of Writers, (AELC/ACEC), Barcelona 2010, Spanish Society of Comparative Literature, Alacant 2010, etc.). Of course the celebration in 2009 of the e-­?poetry festival in Barcelona was one of the big events and helped this open debate on the matter. But in this paper there will be a special space for one of this activities that, for

    Patricia Tomaszek - 15.10.2010 - 17:14

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