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1. Rencontre: An Experimental Tool for Digital Literature

   For several years, the Paragraph Laboratory, University of Paris 8, has explored new avenues in the field of digital art and literature. In that context, a project is currently ongoing in this lab, in collaboration with the University of Technology of Compiegne and the University of Geneva, supported by the Maison des Sciences de l’Homme Paris Nord. The goal of this project is to design a computer tool for the writing of nonlinear fictions for interactive media and to investigate its impact on both the writing and reading processes.

   Eric Dean Rasmussen - 08.03.2011 - 16:33

2. Mining the Knowledge Base: Exploring Methodologies for Analysing the Field of Electronic Literature

   This is a work-in-progress report from an exploration of the intersection between the fairly conventional digital humanities method of creating a database - specifically, the ELMCIP Electronic Literature Knowledge Base (http://elmcip.net/knowledgebase) and the digital methods strategy of directly analysing online, digital content. We are testing out different methods of analysing data about conference series harvested from the Knowledge Base, using social network analysis to visualise the connections between people, events and works and tag analysis.

   Scott Rettberg - 16.01.2013 - 21:40

3. Intersecting Approaches to Electronic Literature: Close-Reading Code, Content, and Cartographies in “William Poundstone’s “Project for the Tachistoscope: [Bottomless Pit]”

   What does it mean to close read electronic literature? Should one closely engage the screenic content, the programming code, or the operating patterns of a work? This panel proposes that critical analysis need not be limited to one approach or one focal point of attention, and seeks to demonstrate what can be gained when scholars collaborate to apply multiple methodologies to engage a single work. All three panelists will read the same work of digital literature, William Poundstone’s “Project for the Tachistoscope: [Bottomless Pit]” (EL Collection, vol.1), but using three different critical methods with the collaborative goal of approaches that mutually inform and enrich each other. Jessica Pressman will approach the Flash-based animation from the lens of traditional literary hermeneutics, close reading the onscreen literary aesthetics to explore the relationships between form and content as well as locate the points of aporia and mystery that traditional reading strategies are left struggling to explain.

   Audun Andreassen - 10.04.2013 - 11:12

4. Visualizing la(e)ng(-u-)age

   Electronic literature not only engages “new media” elements (such as links, navigation, structure, animation, color, images, sound, computer programming) but also toys with the very foundation of literature—the language itself. After 20 years, we need to look back to remind people about these en(gag)(-tangl-)ements. As language is rapidly shifting with new te(xt )chnologies, we need to look ahead to see where electronic literature can engage with these emerging forms of language.

   First, I will briefly present previous works to provide a history of electronic literature’s engagement with language. I will cover:

   Character-augmented languages such as:

   · Talan Memmott’s Lexia to Perplexia and Mez’ mezzangle (languages using regular fonts which add or subtract characters to words to create other words, usually employing parentheses)

   · My work-in-progress Chronic (a handwritten language which adds or subtracts letters in a similar manner but employing upper characters to add letters and overbars to subtract letters)

   Visual languages such as:

   Scott Rettberg - 19.06.2014 - 20:31

5. Electronic Literature as a Means to Overcome the Supremacy of the Author Function

   In his seminal essay “What Is an Author?” Michel Foucault maintains that we can only accept literary discourses if they carry an author’s name. Every text of poetry or fiction is obliged to state its author, and if, by accident or design, the text is presented anonymously, we can only accept this as a puzzle to be solved, or, one could add, as an exceptional experiment about authorship that is verifying the rule. This was in 1969. In the meantime, a profound change of all forms of social interaction has been taking place. Amongst them are works of electronic literature that use the computer in an aesthetic way to create combinatory, interactive, intermedial and performative art. One could argue, of course, that electronic literature as new media art often only is a proof of a concept addressed to the few tech-savvy select. However, these purportedly avant-garde pieces break the ground for developments that might happen barely noticed, and by this serve an important political, ideological, aesthetic and commercial purpose. Amongst these developments is a change of the seemingly irrevocable rule of the author in literary discourses.

   Hannah Ackermans - 16.11.2015 - 10:07