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1. Internet Radio and Electronic Literature: Locating the Text in the Act of Listening

   This essay suggests sound(s), especially when designed/utilized to provide immersive contexts, can provide a valid literary experience and may be considered, like reading and writing, a central element in the digital narratives of electronic literature. Specifically, 1) Sound (vocal and other) provides the basis for narrative, the heart of every literary experience; 2) Rather than sound(s) in electronic literature, sound(s) might be heard as electronic literature; sound(s) might form the basis for new works of electronic literature; 3) Evolving considerations of Internet radio, especially with regard to mobile, interactive, social audio networks, with content drawn from radio drama and radio art, may provide models for these new forms of electronic literature that are deep, rich, engaging, and immersive literary experiences that locate the text not (solely?) in the acts of reading and writing, but also in the act of listening.

   Scott Rettberg - 04.10.2013 - 11:32

2. One + One = Zero – Vanishing Text in Electronic Literature

   The concept of “erased” text has been a recurrent theme in postmodernist criticism. While most speculation about the presence or absence of an absolute text is applied to print literature, the manifestations of digital text present a new and entirely separate level of investigation.
The combination of visible language and hidden code do not negate the basic questions of language and interpretation – these continue to be important in our study of electronic texts. However, the visible text – under the influence of code – can be modified, transformed, and even deleted in ways that introduce markedly different implications for reading strategies and meaning structures.
This paper will explore a selection of works from electronic writers illustrating text/code practices that involve disappearing “text.” Text can absent itself by the simplest of reader actions – the mouseover or the link which takes the reader to another “lexia” in the piece. But text can also be obliterated by actions of the code, unassisted by the reader/navigator. Moreover, there are intermediate techniques to create vanishing text.

   Alvaro Seica - 04.10.2013 - 11:37

3. “Iteration, you see”: Floating Text and Chaotic Reading/Viewing in slippingglimpse.

   Crossing the tools of fluid dynamics with those of literary criticism, Gwen Le Cor casts a new light on contemporary writing in new media. Unlike first generation, “classical” hypertexts that were non-linear in the sense of using linked textual elements, Le Cor sees Strickland and Lawson Jaramillo’s poem, slippingglimpse, as a more “contemporary” instance of nonlinear writing that can be viewed (literally) as a “complex, nonlinear turbulent system.”

   Arngeir Enåsen - 04.10.2013 - 11:46

4. Out of Bounds: Searching Deviated Literature in Audiovisual Electronic Environments

   In this presentation I propose a close/distant reading of some Argentinean e-poetry works –Migraciones and Outsource me! by Leonardo Solaas and TextField, Eliotians and some of the works of The Disasters by Iván Marino– in order to pose a debate concerning the development of e-poetry in audiovisual electronic environments, particularly e-poetry created by artists/programmers who hardly would defined themselves as poets or writers.To what extent one should still speak about literature concerning this kind of works? Is it possible to find a literary impulse in contexts where literature has lost its privileges and migrates “out of bounds”? If the artists mentioned above lean themselves into literary traditions, why are their works more frequently regarded by visual art critics rather than literary critics? I argue that the works analyzed enable us to resituate literature in inter/trans media contexts, which nevertheless are readable in terms of literary effects.

   Scott Rettberg - 04.10.2013 - 11:54

5. Editing Electronic Literature in the Global Publishing System

   Contemporary “format disruptions” (Savikas) lead to a new experience and practice of scholarly publishing: it is global, virtual, and instantaneous. How does this apply to electronic literature? Elit works exist in a field of publication, characterized by circulation, commentary, and archiving. They are subject to complex corporate toolchains, software updates, social media, etc. The work is no longer just the work but the entirety of this field. Publication is no longer a single event or a single thing. Think of this in terms of Luhmann’s systems theory: the differentiating distinction between artistic production and critical discourse is shifted; the difference made by artwork - its “poetics” - is now systematically linked to critical discourse.

   Elisabeth Nesheim - 04.10.2013 - 11:55

6. Where Is the Text? The Disappearance of the Text in Electronic Poetry

   Electronic poetry encompasses works very different from one another. Talking about electronic poetry as if it were just one creative form seems to be inaccurate. On the other hand the interest to be had in electronic poetry seems to reside exactly in the diversity which electronic poetry has to offer to its reader.
   This paper will feature an empirical approach to electronic poetry. The aim of this paper is a two-fold goal. On the one hand it will study the “development” of electronic poetry, and our hypothesis is: the text is disappearing in e-poetry; and on the other it will compare e-poems written in different languages to see if there are differences of style in composing e-poetry.
   

   Alvaro Seica - 04.10.2013 - 11:58

7. To Grasp or not to Grasp. A Phenomenological Approach to Serge Bouchardon's E-Literary Pieces

   To Grasp or not to Grasp. A Phenomenological Approach to Serge Bouchardon's E-Literary Pieces

   Arngeir Enåsen - 04.10.2013 - 12:01

8. The Absence and Potential of Electronic Literature

   There is no understanding of electronic literature. No theory exists to analyze literary texts and signs on the computer and the network. How does the digital inscription become literary? Don’t get me wrong: there are admirable descriptive formalisms and historical genealogies of electronic literature. All these function as criticism should, but offer nothing of electronic literature as such. Existing criticism begins from the presumption that “there is” electronic literature and proceeds to describe the various works in existence (for example, in Electronic Literature Hayles explicitly refuses to theorize the subject of her book). The results are productive for maintaining the existing distribution of texts and readings in a field of literary and non-literary texts. My paper is part of a project refusing the given-ness of these forms and histories. The theory of “electronic literature” is a failure, and I insist on the achievement of this failure. The larger project is a technical and philosophical argument for the absence and potential of electronic literature. For purposes of this paper, I draw my examples from the ELC Volume 2.

   Alvaro Seica - 04.10.2013 - 12:08

9. De la croissante invisibilité des poésies numériques en ligne dans la zone française

   Au milieu des années 90 le développement du web a suscité beaucoup d'espérance de la part des poètes expérimentaux, qu'ils y voient la possibilité d'une diffusion de leurs travaux ou qu'ils envisagent des formes créatives nouvelles tirant parti des spécificités du réseau; en 97-98 était publié un numéro spécial de la revue DOC(K)S consacré au web: "un notre web", complété par un CD contenant des oeuvres numériques trouvées en ligne. Il s'agit aujourd'hui de faire le point et sur les auteurs présents dans ce numéro, sur les sites qu'ils animaient alors, sur les transformations intervenues, et surtout sur l'enthousiasme utopique de ces années en se demandant quelle place, dans la zone française, occupent aujourd'hui les poésies numériques en ligne. Au final, l'enquête conduite, sur la base d'une recherche systématique, manifeste le peu de visibilité de ces travaux et tente d'en analyser les causes.

   (Source: Author's abstract from ELO 2013)

   Arngeir Enåsen - 14.10.2013 - 13:57

10. Panorama de la production scientifique au Brésil: Cyberculture et poésie numérique (2000-2010)

    Panorama de la production scientifique au Brésil: Cyberculture et poésie numérique (2000-2010)

    Arngeir Enåsen - 14.10.2013 - 14:35

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