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1. Virtual Communities and Collective Narratives: From Tokyo to Mercedes, Buenos Aires.

   The spread in the use of blogs, bulletin boards and wikis during the first half of the present decade gave rise to discussions about the possible applications of these emerging technologies to a wide range of collaborative enterprises. From building Internet communities to authoring encyclopedias, or producing collective narratives in the form of fan-fictions, blog-fictions or wiki-novels, users from around the world have been exploring the opportunities for innovation, socialization, and artistic creation brought forth by these collaborative platforms. This paper examines the intersections between two of the most influential collective narratives produced in recent years in cyberspace: Train Man, the Internet story of a 23-year-old geek (otaku) who relies on an online community to reduce his geekiness and find a girlfriend; and A Fat Woman Weblog (Weblog de una mujer gorda), the story of a middle class family from Mercedes, Argentina, as told from the perspective of an Argentine housewife (a fictional character impersonated by Hernán Casciari).

   Audun Andreassen - 14.03.2013 - 14:29

2. Making Sense: aspects of the literary in electronic environments

   This paper investigates the manner in which e-literature is reconstructing and intensifying some of the sensory capacities of literary language. The interactive nature of many works, as well as their use of image and sound and the fact that the ‘surface’ text is produced and informed by a ‘deeper’ level of generative code, means that new critical concepts, vocabularies and ways of reading adequate to this new situation need to be developed. Katherine Hayles. John Cayley, Talan Memmot, and Rita Raley, have all written authoritatively on the importance of software and code in determining approaches to electronic poetics, and the difference this makes to how we understand new media writing. Matt Kirschenbaum makes the distinction between formal and forensic materiality in order to break down the emergent logics at play in the digital ‘text’. We introduce a different perspective, one that focuses on the ecology of the body (its distribution) in its engagement with different forms.

   Audun Andreassen - 14.03.2013 - 14:36

3. Between Experiments and Traditions: Italian and Portuguese E-poetry

   This paper aims at analyzing the historical evolution of poetry experiments in Italian and Portuguese languages. Poetry has always been interested in experimenting with new ways of writing; however the computer and internet media make the experiments with the language a basic question. The first part of this paper will refer to a historical approach tracing the most important breakpoints in the poetry development in Italian and Portuguese languages during the last century. We will focus above all on Italian Futurism and visual poetry and we will connect Italian visual poetry tradition to Brazilian concrete poetry to identify the main characteristics and to define the links between these movements and the contemporaneous epoetry environment. In the second part some Italian Portuguese e-poetries will be presented and analyzed. A close-reading of some famous works will be proposed trying to identify the strategic elements which constitute the poetics of digital text - the infographic images, the poeticity of the elements, theirs [il]legibility, the pluri-signification of the relation image.

   Audun Andreassen - 14.03.2013 - 15:41

4. The materialities of close reading: 1942, 2009

   Today, we not only see video games and online role-playing games interpreted, in print-based scholarly journals, by way of classical literary and narrative theory (to the dismay of the radical ludologist), but we also see the inverse: classical novels interpreted by way of role-playing games staged in computerized, simulated environments (as in Jerome McGann's IVANHOE Game). The use of classical theory for the study of contemporary video games and video games for the study of classical literature, however, does not necessarily mean that we now inhabit a mixed up muddled up shook up literary-critical world. In fact, these examples might mark opposite sides of a continuum of critical practice, and underscore the logic of analyzing a text in a given medium with the tools of a different – and complementary – medium.

   Audun Andreassen - 20.03.2013 - 09:54

5. Mobile Media Narratives: From Site-Specific Stories to Locative Hypertexts

   With the move from personal computing to pervasive computing, electronic literature has inhabited physical sphere of ubiquitous computing. This study analyzes examples of narratives that employ mobile technologies (from cell phones to GPS receivers) to interact with site-specific electronic literature. Drawing from examples such as [murmur], PETlab’s Re:Activism project, and Blast Theory’s Rider Spoke, this paper argues for a spatio-temporal embodiment that is produced in correspondence with the mobile interface. [Murmur] is an oral history project utilizing mobile phones is currently running in 11 cities worldwide. Signs posted throughout the city prompt mobile phone users to call a specific number and record a narrative about that site. Other passersby are able to listen to the recorded narrative when the number is later called. Similarly, Re:Activism is a mobile phone story-game that has players restage scenes of contestation that occurred throughout New York City, led by SMS messages about the site.

   Audun Andreassen - 03.04.2013 - 09:50

6. Pipe Bomb: Exploding Code in the Work of Rene Margritte and Jodi

   Following Michel Foucault's brief works of art criticism, Rene Magritte's paintings, and Jodi's websites, this essay performs a close reading of HTML code using the aesthetic logic of the calligramme. To begin I construct a genealogy of critical image production surrounding Magritte's now classic 1928-29 painting La trahison des images. A slowly decomposing relationship between language and images begins with Scott McCloud's reductive materialism in Understanding Comics (1993) in which McCloud's comic book avatar lectures on the material and mimetic aspects of Magritte's pipe for purely ironic effect. Unlike McCloud's attempts to distill materiality down to traditional media types, Henning Pohl's La trahison des images numeriques (2009) implicates both pipe and text within a transcendental image-space beyond medium specificity which, like Giselle Beiguelman's //**Code_up (2004), promotes the fantasy of diving into data. Douglas R.

   Audun Andreassen - 03.04.2013 - 15:13

7. Geo-locative narratives and e-lit: A Literary Positioning

   At The MITH/ELO Symposium, guest speaker N. Katherine Hayles concluded her talk proposing that electronic literature needed to leave the limits and the realm of the screen. Her words proved an inspiration to our panel. The HERMENEIA Research Group (www.hermeneia.net) and the Centro Avanzado de Investigación en Inteligencia Artificial (CAVIIAR-the Advanced Research Center in Artificial Intelligence) subsequently proposed to the Spanish Department of Industry and Technology the generation of a literary space that would use the technologies foreseen as having the greatest social penetration: cellular telephony, personal computation, Web 2.0 and geographical positioning, i.e. a literary GPS.

   Audun Andreassen - 03.04.2013 - 15:23

8. My Own Private Augmented Reality: ulillillia's Mind Game

   This paper looks at Nick Smith's (aka ulilllillia) "Mind Game" as an illustration of how augmented reality systems, while based in digital media, do not necessarily rely on digital software or hardware, but in the influence of digitally-mediated practices on the imagination. !Smith's "Mind Game" constitutes a form of experiential poetry mediated through augmented reality.

   (Source: Author's abstract for ELO_AI)

   Audun Andreassen - 10.04.2013 - 11:33

9. Experiments in Literary Cartography

   Coover wrote: “The most distinctive literary contribution of the computer has been (...) the intimate layering and fusion of imagined spatiality and temporality.” Of course, by “spatiality” Coover meant the topologies of text non-linear in its presentation, not a more literal representation of space. I discuss my experiments using the Google Maps API as an interface for hypertext fiction. This of course is not in itself new, but there are some possibilities in cartography-oriented fiction I would like to call attention to. In particular:

   1. Using a familiar interface, such works may introduce a broader audience to Electronic Fiction, without dumbing it down;

   2. The Golden Age’s concerns with spatiality are recast now with a third extra dimension, represented space in a more literal sense. The realm of topological possibilities in this intertwining – temporality, textual structure, represented space – is vast. 3. Such works inevitably touch upon our subjective relationship with space, and the shifting modes of our articulation thereof. Three works are presented:

   Audun Andreassen - 10.04.2013 - 11:56