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1. Strange Rain and the Poetics of Motion and Touch

   Mark Sample provides a close-reading of one work that takes advantage of the “interface free” multitouch display: released in the last year, “Strange Rain” is an experiment in digital storytelling for Apple iOS devices (the iPhone, iPod Touch, and iPad) designed by new media artist Erik Loyer.

   Eric Dean Rasmussen - 05.10.2011 - 09:56

2. Seven Types of Interface in the Electronic Literature Collection Volume Two

   Seven Types of Interface in the Electronic Literature Collection Volume Two

   Eric Dean Rasmussen - 05.10.2011 - 10:16

3. Vectors, Scalar, and Magic: Emerging Platforms for E-lit Scholarship

   Emerging media forms do not merely excite artists; they also inspire critics to develop innovative scholarly works. For over seven years, the USC-based Vectors Journal has promoted webbased scholarship by developing and publishing projects that utilize experimental design interfaces, data structures, and digital authoring tools. In this presentation, Vectors’ Creative Director Erik Loyer, Info Design Director Craig Dietrich, and 2011 Fellow Mark Marino will present glimpses of critical works that use innovative platforms to explore their material. Loyer will begin with a presentation that looks at several of his collaborations with scholars to create the dynamic multimodal works of Vectors. Dietrich will follow with a look at the new platform Scalar, a publishing platform based on Vectors’ workflows and Semantic Web technology. Dietrich will also detail Magic, an experimental design fork of Scalar centered on the presentation of software code. Marino will then present his Scalar piece based on the Magic fork which analyzes a work of electronic literature, the Transborder Immigrant Tool, including annotations of the tool’s code.

   Eric Dean Rasmussen - 18.06.2012 - 13:40

4. E-literature and the Un-coded Model of Meaning: Towards an Ordinary Digital Philosophy

   As Ludwig Wittgenstein observes in Culture and Value, “a work of art does not aim to convey something else, just itself.” My paper uses the Wittgensteinian ordinary language philosophy (OLP) perspective to show how e-lit works often encourage a coalescence of various uses of the word ‘meaning’ in literary contexts. Beside the transitive meaning [what something means], the word “meaning” can be intransitively used in at least three different ways, denoting (1) value [how much something means], (2) a specific Gestalt [meaning as expressive of a specific structure], or (3) an (apparent) appropriateness [something as meaningful element]. The difficulty to neatly separate these uses during e-reading can be put in relation with the reconfiguration of our reading experience in terms of what Anna Munster calls inter-facialization.

   Eric Dean Rasmussen - 22.06.2012 - 16:52

5. The Joy of E-Lit (Interview with Kathi Inman Berens)

   Kathi Inman Berens is a literary scholar with an enthusiasm for e-lit. Among many other activities, she co-curated with Dene Grigar MLA 2012 and then MLA 2013; and is now (as of early 2013) co-curating with her a new show, the first exhibit of e-literature at the Library of Congress.

   Her candidness about the difficulties traditionally trained literary scholars encounter when they read e-lit helps to humourize a situation that often staleley devolves into ideologies. Berens agile deft comedic scrutiny combined with a tactile sensual playfulness, makes her a formidable viewer and critic and in the future (perhaps) locative poet.

   Interview 2012-06-23 at ELO Morgantown.

   (Source: David Jhave Johnston, Vimeo)

   Scott Rettberg - 12.02.2013 - 14:25

6. The Interface Effect

   Interfaces are back, or perhaps they never left. The familiar Socratic conceit from the Phaedrus, of communication as the process of writing directly on the soul of the other, has returned to center stage in today's discussions of culture and media. Indeed Western thought has long construed media as a grand choice between two kinds of interfaces. Following the optimistic path, media seamlessly interface self and other in a transparent and immediate connection. But, following the pessimistic path, media are the obstacles to direct communion, disintegrating self and other into misunderstanding and contradiction. In other words, media interfaces are either clear or complicated, either beautiful or deceptive, either already known or endlessly interpretable. Recognizing the limits of either path, Galloway charts an alternative course by considering the interface as an autonomous zone of aesthetic activity, guided by its own logic and its own ends: the interface effect. Rather than praising user-friendly interfaces that work well, or castigating those that work poorly, this book considers the unworkable nature of all interfaces, from windows and doors to screens and keyboards.

   J. R. Carpenter - 24.03.2014 - 12:25

7. Inventing the Medium: Principles of Interaction Design as a Cultural Practice

   Digital artifacts from iPads to databases pervade our lives, and the design decisions that shape them affect how we think, act, communicate, and understand the world. But the pace of change has been so rapid that technical innovation is outstripping design. Interactors are often mystified and frustrated by their enticing but confusing new devices; meanwhile, product design teams struggle to articulate shared and enduring design goals. With Inventing the Medium, Janet Murray provides a unified vocabulary and a common methodology for the design of digital objects and environments. It will be an essential guide for both students and practitioners in this evolving field.

   Scott Rettberg - 21.08.2014 - 12:04

8. Activist Media Poetics: Electronic Literature Against the Interfacefree

   For the last year or two I’ve been focusing most of my research and writing on the notion of ‘interface’ – a technology, whether book or screen, that is the intermediary layer between reader and writing. What I’ve found is that ‘interface’ gives us a wedge to approach the broad and complex question of how the reading and writing of poetry have changed in the digital age and how the digital age has in turn changed the way in which we understand what I call “bookbound” poetry. It seems to me that a discussion of digital poetry in terms of interface – a discussion whose methodology is driven by the field of Media Archaeology – could be a crucial intervention into both poetry/poetics and media studies in that it meshes these fields together to 1) make visible the Human-Computer interfaces we take for granted everyday; and 2) to frame certain works of electronic literature as instances of activist media poetics.

   Ana Castello - 02.10.2018 - 18:39