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1. Literary Hypertext: The Passing of the Golden Age

   29 October 1999 Keynote Address, Digital Arts and Culture Atlanta, Georgia (This speech was also published in Feed in 2000.) Coover's DAC Keynote address discussed the transition from the "golden age" of narrative-driven, text-dominated hypertext fiction, mainly produced in Storyspace, to an era dominated by the practices and attention spans of the World Wide Web, and a new focus on the image.

   Scott Rettberg - 25.03.2011 - 16:18

2. Embodied Interaction and the Aesthetics of Behavior

   Embodied Interaction and the Aesthetics of Behavior

   Jill Walker Rettberg - 09.10.2012 - 22:40

3. Collective Memory and the Development of a Field: Building the ELMCIP Electronic Literature Knowledge Base

   Collective Memory and the Development of a Field: Building the ELMCIP Electronic Literature Knowledge Base

   Scott Rettberg - 13.11.2012 - 01:04

4. Transliteracy and Interdisciplinarity in Digital Media Research

   Transliteracy and Interdisciplinarity in Digital Media Research

   Scott Rettberg - 07.01.2013 - 15:20

5. Is the Future of Electronic Literature the Future of the Literary?

   Is the Future of Electronic Literature the Future of the Literary?

   Scott Rettberg - 12.01.2013 - 11:01

6. Present, tense, ordinary, fiction comma dot calm

   Present, tense, ordinary, fiction comma dot calm

   Scott Rettberg - 19.01.2013 - 13:01

7. Learning to Throw Like Olympia: E-Lit and the Art of Failure

   Viewed next to print literature, e-lit appears as a poor copy, a replica(nt) lacking both the genius agency of modernism and the abject subjectivity of postmodernism. In this talk, I will use the concepts of re-territorialization (Deleuze and Guattari) and “the open” (Giorgio Agamben) to show how, like Hoffman’s automaton, the “born digital” is powerful precisely because it fails to deceive. Neither preserving nor directly opposing the conventions of print-lit, e-lit functions as a reflecting apparatus that unmasks language and meaning-making as machines through the revelation of its own machine-works. Using multifarious examples from the work of Alan Bigelow, Mez Breeze, Emily Short, Jason Nelson, and others, I will show how these re-inscribe obstruction, glitch, error, randomness and obsolescence as potentiality. In doing so, they repurpose the productive and reproductive functions of writing not for some finite end or product, but for play.

   (Source: author's abstract)

   Jill Walker Rettberg - 19.06.2014 - 20:09

8. Life Poetry Told by Sensors

   Life Poetry Told by Sensors

   Jill Walker Rettberg - 19.06.2014 - 20:43

9. Selvbilder

   Lecture with Siri Meyer on self-representation from the Renaissance to social media.

   Alvaro Seica - 26.09.2014 - 18:13

10. Green-Screeners: Locating the Literary History of Word Processing

    “I suppose that my fiction will be word-processed by association, though I myself will not become a green-screener,” John Barth told the Paris Review in 1985. But just a few years later he did, not only switching to a word processor but exploring the machine as a subject in subsequent fiction. This lecture, drawn from my forthcoming book Track Changes: A Literary History of Word Processing, interweaves a narrative of word processing’s introduction to the literary world–we will see that Barth’s story, both his abrupt turn-around and his fear of guilt by association is typical–with a consideration of practical problems in doing research at the intersection of literary and technological history, especially the changing nature of the archive as primary source material becomes itself “born-digital.” Along the way we will take a look at Stephen King’s Wang, John Updike’s trash, and the 200-pound writing machine that produced the first word processed novel in English.

    (Source: ELD 2015)

    Alvaro Seica - 15.05.2015 - 13:50

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