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1. Interview with Dene Grigar

   In this interview Dene Grigar tells about her approach to electronic literature in the early 1990s and about her work as curator for the exhibit "Electronic Literature and Its Emerging Forms" in 2015. She goes on describing some distinguishing features of electronic literature and explaining her 'conceptual shift' on regard to the way of working with computers. Finally she suggests some methods of analysis for the understanding of electronic literature for both academic scholars and mainstream audience.

   Patricia Tomaszek - 28.06.2013 - 00:00

2. Digital Poesi. Æstetisk Analyse og det Mediales Rolle i Kunstværkers Kommunikation

   ENGLISH SUMMARY Digital Poetry: Aesthetic analysis and the role ofmediality in the communication of artwork Digital poetry (language-based digital art) is a global, interdisciplinary movement consisting of poets, artists and programmers who study and develop opportunities for programmed writing. Digital poetry combines writing with animation, images and sound. There are moving letters, interaction and autogenerative programming. Some digital poems also consist of actual programming code. Digital poetry can be colourful, expressive, technologically advanced, organic, delicate and minimalistic. The thesis consists of analyses of selected examples of digital poetry and investigates, discusses and demonstrates how digital poetry can be analysed. This results in a wide range of theoretical issues concerning genre and intermediality, media philosophical questions regarding technologies of writing and issues related to programming, materiality, temporality and agency. The thesis is a methodological reflection on which concepts should be applied and what new set of questions should be asked in the analysis of digital poetry and contemporary digital art in a broader sense.

   Patricia Tomaszek - 28.06.2013 - 17:21

3. Cross-Reading: un outil de visualisation de close readings

   ELO 2013 brought out the question of how the theoretical discussions about specific works can be extended in space and time beyond teams. A few months before, different teams began a project of the labex Arts-H2H focusing on the design of “Cross-reading”, a tool to make a pooling of theoretical perspectives used in different parts of the world to treat works of Electronic Literature. This experience, the first large-scale in this area, has as its primary mission to cross different methodologies (or points of view) on the same object to produce a high value-added analysis, which is not only a juxtaposition of disparate contributions but a construction reflecting teamwork.The still ongoing implementation implied first the design of an ontology to harmonize the different analyses produced autonomously by each team. Analyses come from diverse backgrounds such as literature, semiotics, media and cultural studies, ergonomic experimentation and aesthetics. The ontology considers the work as a Spinozist individual in the context of the procedural model of Ph. Bootz, allowing the contemplation of both the visible "surface" and the computer program of the work.

   Jill Walker Rettberg - 25.09.2013 - 11:54

4. Med literaturo in novomedijsko umetnostjo: sonetoidni spletni projekti Vuka Ćosića in Tea Spillerja

   Franco Moretti’s notion of “distant reading” as a complementary concept to “close reading,” which has emerged alongside computer-based analysis and manipulation of texts, finds its mirror image in a sort of “distant” production of literary works—of a specific kind, of course. The paper considers the field in which literature and new media creativity intersect. Is there such a thing as literariness in “new media objects” (Manovich)? Next, by focusing on the websites that generate texts resembling and referring to sonnet form, the article asks a question about the new media sonnet and a more general question about new media poetry. A mere negative answer to the two questions seemingly implied by Vuk Ćosić’s projects does not suffice because it only postpones the unavoidable answer to the questions posed by existing new media artworks and other communication systems. Teo Spiller’s Spam.sonnets can be viewed as an innovative solution to finding a viable balance between the author’s control over the text and the text’s openness to the reader-user’s intervention.

   Scott Rettberg - 16.10.2013 - 16:19

5. Thresholds of the Edge: Rethinking the Concepts of Books and Access in the Age of the Digital Paratext

   In Paratexts: Thresholds of Interpretation (1987; English translation, 1997), Gérard Genette provided scholars with the seminal concept of paratext: functional elements of the book (such as covers, title pages, illustrations, footnotes, etc.) that help to fulfill the text’s destiny (p. 408) by making it present for the reader (p. 1).

   Today, the book often escapes the boundaries of the tangible object of Genette’s study, as is the case with The Unknown – The Original Great American Hypertext Novel. This born-digital collaborative work, so far from Genette’s perception and yet so suited to his views, is a goldmine of thresholds, namely through the source code, which the reader is invited to explore in parallel with the content and navigation provided in the published pages (Gillespie et al., 1999).

   Patricia Tomaszek - 05.11.2013 - 14:02

6. Interview with Leonardo Flores

   Leonardo Flores tells about his beginnings in the field of electronic literature and his current project on electronic poetry. He then makes an in-depth description of the paradigmatic change from printed literature to electronic literature with special attention on the expectations of readers who are new to new media works and the tradition, so to speak, of experimentalism in literature. With the same accuracy he ponders about the status of science of electronic literature and ends the interview with some considerations about the important issue of preservation.

   Daniele Giampà - 12.11.2014 - 19:48

7. (Electronic) Literature and the (Post)human Condition

   Electronic literature exists in a perpetual state of flux, due to its reliance on digital technology; with the rapid progression of processing power and graphical abilities, electronic literature swiftly moved from a reliance on the written word into a more diverse, multi-modal form of digital arts practice. The literariness of early electronic literature is manifest: the work was primarily textual, the centrality of reading paramount. The current crop of electronic literature--with its audio-visual, multimodal nature--calls into question the literariness of this work, however, as is evidenced by this year's call for papers. I propose that this ambiguity as regards literariness and written textuality in electronic literature disadvantages the field, in both academic circles and in the search for a wider reading audience. If electronic literature as field is to assert and validate its position within the greater literary tradition, links between electronic literature and past literary achievements need to be uncovered and illuminated.

   Daniela Ørvik - 19.02.2015 - 15:49