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1. Social Media: Problems & Projects

   Social Media: Problems & Projects

   Carlos Muñoz - 29.08.2018 - 15:41

2. e-Loops in e-Lit: Mechanical Reflexive Reading

   Loops are mostly patterns: patterns based on a predetermined set of repetitions, and that allows for a recognizable sense of progression and movement. It is used and perceived as a structure whose impact on interpretation can be considerable. This presentation focuses on how the loop defined as a shape, a process and a pattern becomes a figure in contemporary electronic literature works and practices. I will investigate this particularity of digital writing by examining how loops condition reading and writing practices. How do e-loops revisit interpretation processes? More specifically, does the loop’s reflexivity echoes the electronic text it produces?

   Li Yi - 29.08.2018 - 15:48

3. Transforming Theoretical Textual Analysis into an Interactive Digital Game

   This paper will outline the material process and theoretical underpinnings whereby I turned a critical practice of reading a philosophical text, in this case Plato’s Phaedrus, into an electronic, interactive, Twine game. The game, called “Plato’s Phaedrus: a Memory Pharmacy,” is a rhizomatic dialogical game whereby players engage in a procedure of enacting verbal dialectics upon an interactive text that is interspliced with both Platonic passages and transcriptions of contemporary interlocutor's dialectical analysis upon the Phaedrus. The game is played on Twine, an open-source tool for non-linear storytelling. Players choose a character, either Socrates or Phaedrus, and begin by reading aloud scripted lines of the Platonic text. As the dialogue continues, it becomes unclear if the text has departed from the original Platonic dialogue as the content mixes in anachronisms and the style vears upon the colloquial. Soon conversation choices are introduced as players can choose which line to speak aloud, and thereby steer the dialogue in different conversational directions.

   June Hovdenakk - 29.08.2018 - 15:51

4. Literature Mods

   This paper presents a critical framework about literature mods—modifications of source code and surface of literary works—and a set of new empirical methods—modifying deformances—as a way of reading and analyzing the behavior of digital kinetic poems, since they move in time and space. How to simply read poems behaving as changing events? How to read poems that display at extremely high speed? How to critically analyze surfaces of inscription that may be impossible to be read? What methods of criticism can be set in practice in order to read kinetic poems? The problem of how to read digital poems, how to interpret them, and how to write criticism about them is closely tied to what kind of methods the reader and scholar use. Some of these methods can, and should require practical engagement with the creative works, a point that C. T. Funkhouser (2014) highlights. In fact, that is the type of “computational poetics” methodology that, in “operating” the code and interface, Stephanie Strickland and Nick Montfort (2013) call for.

   Li Yi - 29.08.2018 - 15:57

5. Digital Deep-Sea Diving: navigating the narrative depths of E-lit and VR

   Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different as water is from air, that takes over all of our attention, our whole perceptual apparatus. We enjoy the movement out of our familiar world, the feeling of alertness that comes from being in this new place, and the delight that comes from learning to move within it. 
   –Janet Murray, Hamlet on the Holodeck

   Akvile Sinkeviciute - 04.09.2018 - 23:04

6. The Posthuman Poetics of Instagram Poetry

   Instagram poetry, a type of digital poetry is, as the name implies, poetry that is produced for distribution through the social media channel Instagram and most usually incorporates creative typography with bite size verses. 

   Instagram poetry can demonstrate the cultural impact of a posthuman cyborgian fluidity of borders and forms in that we essentially find ourselves left with anthropophagic texts - cannibalistic texts that remix, reuse and re-appropriate content. Digital texts can no longer be regarded as singular standalone objects rather they are constantly changing assemblages in which inequalities and inefficiencies in their operations drive them towards breakdown, disruption, innovation and change 

   sondre rong davik - 05.09.2018 - 14:54

7. Hey Siri, Tell Me a Story: AI, Procedural Generation, and Digital Narratives

   This paper examines a selection of examples of AI storytelling from film, games, and interactive fiction to imagine the future of AI authorship and to question the impetus behind this trend of replacing human authors with algorithmically generated narrative. Increasingly, we’re becoming familiarized with AI agents as they are integrated into our daily lives in the form of personified virtual assistants like Siri, Cortana, and Alexa. Recently, director Oscar Sharp and artist Ross Goodwin generated significant media buzz about two short films that they produced which were written by their AI screenwriter, who named himself Benjamin. Both Sunspring (2016) and It’s No Game (2017) were created by Goodwin’s long short-term memory (LSTM) AI that was trained on media content that included science fiction scripts and dialogue delivered by actor David Hasselhoff. It’s No Game offers an especially apt metacommentary on AI storytelling as it addresses the possibility of a writers strike and imagines that entertainment corporations opt out of union negotiations and instead replace their writers with AI authors.

   Jane Lausten - 05.09.2018 - 14:57

8. Stalking, Shredding, and Streaming: Reading E-Lit Through Artists’ Alternative Web Browsers

   Alongside the emergent commercial browsers of the late 1990s, several artists made alternative browsers that articulated other ways of conceptualizing a global network of electronic documents, and stood in relief to the particular electronic textuality manifest in browsers like Netscape Navigator and Microsoft’s Internet Explorer—a hypertext imaginary that still deeply informs the predominant browsers of today. Post presents research into three such works: The Web Stalker (1997) by the artist collective I/O/D, Shredder (1998) by Mark Napier, and netomat (1999) by Maciej Wisniewski. 

   Post will draw on interviews with the artists and art historical analytical methods to describe the development, functioning, and long-term impact of these works. In particular, Post considers the ways in which these artists’ browsers can inform the study and practice of electronic literature.

   sondre rong davik - 05.09.2018 - 15:05

9. Engineering Language: Electronic Literature, the “Value” of Words, and the Teaching of College Writing

   Since the widespread adoption of the printing press, we have been writing with and for machines. However, the ways in which and the extent to which machines could participate in acts of writing have changed over time. We have now reached a point where machines play an active role not only in the reproduction and distribution of writing, but in its production and, even, at times, in its creation and composition. As we find ourselves more and more writing with and for machines, there is the possibility that compositional functions once assigned uniquely to humans can be outsourced or automated.

   Li Yi - 05.09.2018 - 15:06

10. Narrating the City in Augmented Aur(e)ality

    The idea of walking as the practice of narrating the city constitutes the recurrent theme of Michel de Certau’s “The Practice of Everyday Life:” the pedestrian activity is repeatedly compared to or described as “enunciation,” “enunciatory operations,” “statements” and “stories”. According to the French sociologist, “[t]he act of walking is to the urban system what the speech act is to language or to the statements uttered” (de Certeau 1988: 97). The story of spatial practices “begins on ground level, with footsteps” (de Certeau 1988: 97) and “the art of >>turning<< phrases finds an equivalent in an art of composing a path (tourner un parcours)” (de Certeau 1988: 100). It might well be said that walking in the city represents not only the very prototype of ergodic literature (Aarseth 1997) but also predates the notion of augmented reality in its technological sense.

    Susanne Årflot Løtvedt - 05.09.2018 - 15:12

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