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1. Live/Archive: Occupy MLA

   More than other netprovs, Occupy MLA [OMLA] lays bare the ethical and performative capacities of the genre. Both a live performance and an enduring if volatile media artifact, OMLA leaves "data contrails": digital traces of real-time reader participation that slowly decay and become less coherent over time. This decay creates an enduring performance record that distorts the live experience of it. In this essay, the shareable, spreadable and appropriative aspects of netprov as a "born digital" live reading/writing interface are considered. The sheer volume of OMLA's tweets and its installation as time-based art create a primary text whose "primacy" is functionally impossible. Part one of the essay examines how and why OMLA's 3000-tweet archive, #OMLA hashtag, and abundant paraphrastic materials actually take readers further from the live experience rather than closer in.

   Kathi Inman Berens - 19.09.2014 - 16:45

2. Writing Coastlines: Locating Narrative Resonance in Transatlantic Communications Networks

   The term ‘writing coastlines’ implies a double meaning. The word ‘writing’ refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances, and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. The term ‘writing coastlines’ may refer to writing about coastlines, but the coastlines themselves are also writing insofar as they are translating physical processes into marks and actions. Coastlines are the shifting terrains where land and water meet, always neither land nor water and always both. The physical processes enacted by waves and winds may result in marks and actions associated with both erosion and accretion. Writing coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, both points of departure and sites of exchange. One coastline implies another, implores a far shore. The dialogue implied by this entreaty intrigues me.

   J. R. Carpenter - 22.11.2014 - 21:44

3. The Riderly Text: The Joy of Networked Improv Literature

   This essay aims to discuss literary pleasure, new media literacy, and networked improv literature (netprov). In particular, the author will discuss the challenges of "close-reading" the Speidishow, a netprov enacted via Twitter (and a constellation of supplementary web-based media) over a period of several weeks. In the process of trying to understand the dynamics of reading on Twitter, the author of this essay created a Twitter account, @BrutusCorbin, and consulted with the writers about plot structure. Through active engagement with the fictional world, Corbin quickly became embroiled in a sub-plot. Seeking distance from the active plots which Corbin was involved in, his author created two new characters, @FelixMPastor and @FrannyCheshire, to explore different aspects of the fictional world. Pastor and Cheshire were subsequently dragged into the story, as well.

   Scott Rettberg - 17.02.2015 - 09:25

4. Performative Modelling of Digital Literature

   This paper starts with a consideration of Jakobson’s model of communication and argues in favour of a more pragmatic version of this as articulated by Jean-Jacques Lecercle. His model introduces the notion of interpellation whereby the text calls the figure of author and reader into subject positions. For our purposes however, this pragmatic model doesn’t account for the presence/function of the machine, vital to any model of digital literature. One way of dealing with this is to posit a second communication layer, an identically shaped model of digital elements laid over the top of Lecercle’s. This raises the question of the connection between the two planes? The answer offered here is ‘performativity’. To develop this further, the language positions of the two models are used as an example, i.e. how are the language of the text and the language of the machine linked through performativity? To answer this question, the paper exploits certain conceptual tools, starting with integrational linguistics. This argues that in natural language, meaning is determined by the performance of communication in specific contexts.

   Alvaro Seica - 15.05.2015 - 14:09

5. The Digital Diasthima: Time-Lapse Reading as Critical and Creative Performance

   In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following upon methods taken from other areas, e.g. time-lapse photography and R.

   Alvaro Seica - 03.09.2015 - 20:26

6. Intermediality and Electronic Literature

   The 2015 ELO Conference’s call for papers states that "[e]lectronic literature is situated as an intermedial field of practice, between literature, computation, visual and performance art. The conference will seek to develop a better understanding of electronic literature’s boundaries and relations with other academic disciplines and artistic practices."

   This roundtable discussion, led by both established and emerging e-lit scholars and artists, will explore the idea of electronic literature as an intermedial practice, looking at the topic from a wide range of forms including literature, performance, sound, computation, visual art, and physical computing. Drawing upon artistic work they have produced or studied, each panelist will provide a five-minute statement that touches on qualities related to intermediality like hybridity, syncretism, and collaboration. Following this series of brief presentations, the panelists, then, encourage engagement in a wider conversation with the audience.

   Hannah Ackermans - 31.10.2015 - 10:36