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1. Communitizing Electronic Literature

   Electronic literature is an important evolving field of artistic practice and literary study. It is a sector of digital humanities focused specifically on born-digital literary artifacts, rather than on using the computer and the network to redistribute, analyze, or recontextualize artifacts of print culture. Works of electronic literature appeal to configurative reading practices. The field of electronic literature is based on a gift economy and developing a network-based literary culture built on the collaborative practices of a globally distributed community of artists, writers, and scholars. This article situates the development of the field of electronic literature within academe, some of the institutional challenges currently confronting the field, and its potential for further development.

   Source: author's abstract (dhq)

   A draft version of this article was presented as "Communitizing Electronic Literature" at the 2008 ELO Conference.

   Patricia Tomaszek - 24.08.2012 - 15:56

2. Scott McCloud's The Right Number: Gaining Currency with Multimedia Technology and Digital Publishing in the Web Comics Revolution

   Scott McCloud has been at the forefront of a movement to redefine comics on the Web. Though himself originally a print comics artist, McCloud has advocated moving away from print paradigms and publishing venues toward the "infinite canvas" he envisions on the World Wide Web. In advocating for digital publishing and interactive art, McCloud, much like Peter Greenaway on new media, believes the visual potential of comics can be radically developed, perhaps moving away from traditional print conventions, such as linear formats linked to the sequential and opaque page; static word/image art; or spatial and temporal coordinates dictated by the format and materiality of the graphic novel or comic book. But the radical shift to digital media has also meant reconsidering the means of publication, distribution, and compensation outside of the print industry.

   Scott Rettberg - 08.01.2013 - 11:52

3. Crossed Lines

   Crossed Lines (2002-2007, Dir: Sarah Atkinson) is a multiform, multiscreen interactive film installation. The piece amalgamates multiform plots, multiscreen viewing environments, interactive interfaces and interactive story navigation forms into one storytelling paradigm. This presentation probes the challenges of designing, authoring and scripting such an ambitious piece, drawing comparisons to traditional approaches to screenplay authoring and traditional modes of fictional production. Practical demonstrations will be included alongside supporting user response data. Various theories and paradigmatic perspectives are referenced whilst reflecting on the extensive creative developmental and production process of the filmic installation.

   Scott Rettberg - 08.01.2013 - 17:32

4. Reading Practices in Electronic Literature: A Dialogic Approach

   Writers experimenting with electronic literature who remediate classic literary content provide a nexus for understanding rhetorical techniques evolving from print-based practices. Further, Mikhail Bakhtin's theories of dialogism provide a basis for the critical analysis of remediated texts. Therefore, this presentation advocates looking at the evolving rhetoric of electronic literature dialogically, in other words, analyzing works that remediate familiar themes and structures from print-based contexts into electronic mediums. Examples will be drawn from Shelley Jackson's "Patchwork Girl" George Hartley's "A Madlib Frost Poem," Peter Howard's "Peter's Haiku Generator," Edward Picot's "Thirteen Ways of Looking at a Blackbird," and Helena Bulaja's "Croatian Tales of Long Ago."

   (Source: Author's abstract, 2008 ELO Conference site)

   Scott Rettberg - 08.01.2013 - 20:45

5. Extended Narratives in Egypt: The Book of Going Forth by Day

   Extended narratives in electronic literature often take place in a "setting" or series of landscapes that might be real or imaginary. In my work, I have often chosen a template from a "real" landscape (California, Egypt) as not only a narrative story feature but also as a part of the navigation system. In *Egypt: The Book of Going Forth by Day* the reader is encouraged to become familiar with a "screen" landscape that is schematic map, navigation tool and "register" for multiple points of view. In order to "map" these fields, the early reader is introduced to areas of the screen which recall the conventional organization of ancient tomb paintings and manuscripts and also correspond to land, river, and sky. Each of these areas is also linked to aspects of the narrative voice. Thus, the imaginary landscape is mapped in the storyline, the screen organization, and the navigation.

   Scott Rettberg - 09.01.2013 - 12:00