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1. On the Possibility of a Text That Is Not Digital

   This twenty-minute paper builds toward the following provocation: it is no longer possible for a text not to be digital. Considering both existing and invented definitions of digital textuality, this paper frames (again!) various discussions of the nature of digital (and "electronic) texts, examining in digital texts their materialities and temporalities, their associated modes of composition and reception, their most evident differences from traditional texts, and their claims to both digital-ness and to textuality. Selecting key features from this analysis, I conclude that the digitalness of a text relates to the way in which it opens (and closes) certain possibilities of reading and other actions. Google's Book project, numerous digital library efforts, and even devices for digitizing business cards attest to the drive to make all texts digital. But, I suggest, even beyond these current events, we have come to understand the very idea of a text already in terms of its possibilities and thus as already digital or potentially digital. What room is left for another, non-digital notion of textuality to present itself?

   (Source: Author's introduction)

   Thor Baukhol Madsen - 17.02.2015 - 15:05

2. Discovering E-Literature for children

   This paper presentation will be based on a 6­month long exploration of electronic literature
   designed for children or that may appeal to children. This survey of the field will be conducted
   publicly using I ♥ E­Poetry as a platform and structure for publication of weekly reviews of works,
   which will result in a dataset of 15­20 works.
   As a father of two children­­ a 4 year old boy and a 6 year old girl­­ I will have an ideal test
   audience for the works. In addition to reading and critically appraising the works myself, I will also
   invite my children to play, read, and interact with the works so I can observe their reactions and
   receive their input when writing my reviews. The platforms I will be focusing on will be iOS (we
   own iPhones, iPod Touch, and an iPad), Android (I own a Nexus 7), and the LeapPad Ultra
   system of tablets designed for children. The affordances and constraints of these systems will
   be of interest for my analysis.
   For this exploration, I will define e­literature broadly and may include video games, interactive
   

   Elias Mikkelsen - 17.02.2015 - 15:27

3. Rendering Text(ures): Foundations for Developing a Virtual Text-Crafting Environment

   Over the past decade, installations of the CAVE have compelled participants to explore how immersive text spaces create playful literary sandboxes in which to experiment with various forms of appropriated writing. Although the fusion of virtual reality and literature has continuously been flirted with, the interactive digital creative space has yet to be realized with comparable impact. So far we have been invited by composers such Rui Torres, Stuart Moulthrop, and Jörg Piringer to participate in the ludic engagement with textual instruments; with “New World Order: Basra,” Sandy Baldwin demonstrated how gamespace provides a compelling environment for textual manipulation. However, to my knowledge, we have yet to develop the space that places these a combination of these capabilities within a single compositional environment.

   Elias Mikkelsen - 19.02.2015 - 15:11

4. Fill in the Blanks: Narrative, Digital Work and Intermediality

   Bleeding Through: Layers of Los Angeles 1920 – 1986 is a digital work produced by the Labyrinth Project Research Center of the University of Southern California. Part paper, part DVD-ROM, part real, part fiction, it is based on an unsolved mystery, and unfolds the story of Molly, an Irish immigrant who moved to Los Angeles in 1920. She was at the heart of an investigation in the late 50’s early 60’s as she was the main suspect in the death of her second husband Walt. The project gathers hundreds of different data types like maps, pictures, texts, newspaper articles, books and movies, through which the user navigates in order to ultimately, resolve the crime. But how does the user build an interpretable narrative through this hypermedial database?

   Hannah Ackermans - 28.11.2015 - 13:58

5. An interdisciplinary project for and with visually impaired persons

   This paper represents a reflection on the process of designing an inclusive and accessible user interface for people with visual impairments. As a multimedia designer, I am involved in an on- going site-specific digital literature project, known as Byderhand (At hand). In 2017, a school for learners with visual barriers in the Western Cape Province of South Africa approached me and my project co-managers about the possibility of incorporating digital literature as part of a multi- sensory garden project at the school. This specific context implied that we had to reconsider the interface design of existing phases of our project. Interfaces for mobile screens are generally based on visual communication. Information is simplified and represented in the form of graphical icons, to improve navigation. However, such an approach fails when a user is unable to see what is displayed on screen. It is therefore imperative for designers to gain an understanding of blind and visually impaired users’ needs and requirements regarding their interaction with mobile technology.

   Jorge Sáez Jiménez-Casquet - 17.11.2019 - 12:07

6. Ghosts in the Machine: The Personal Rational on the Fringes of Digital Literature

   This paper will start by exploring Platonic Formalism as Techne without instantiation. In a concurrently anti-aesthetic and morally rationalist manner, Plato's space for any artistic enactment requires a social engagement utilizing a logical method. This is mathematics without technology, or the semantics of the structured without any methodology for construction and preservation. Analytically speaking, we are given a dialogic picture of the ghost in the machine.

   This phrase, used critically by Gilbert Ryle to take apart the mental dualism of Descartes, can contrast with Kierkegaard's appreciation of the thinker - that is, the personal reasoning of Descartes, Socrates debating himself (as he often does). Rationalism takes the form of logical structures that roam the imaginary and hypothetical, a sheerly literary game (Kierkegaard's first stage) in a manner described by absence. A negative machinic aesthetics.

   Jorge Sáez Jiménez-Casquet - 24.11.2019 - 15:04