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1. False Pretenses, Parasites, and Monsters

   A meditation on parasites and montrosity in American novels and hypertext fictions.

   Eric Dean Rasmussen - 15.03.2011 - 15:57

2. Web/Fiction/Design: A brief beta-test of this year’s winner of the ELO Awards, Caitlin Fisher’s These Waves of Girls

   A (literature) award usually comes with publicity as well as responsibility. As this year's ambassador of digital literature, the US-American Electronic Literature Organization chose a webfiction that does not meet the technological standards of current internet or CD-ROM productions. Neither the rather outdated technique of frames, nor Flash (a program for moving images), nor the embedding of sounds have been implemented in a way that is technologically useful (there's nor debating aesthetics) or ar least more or less correct. About 15 years after the "invention" of digital literature (this date, too, is open for discussion), the technology available has become so sophisticated that a single author obviously can no longer live up to the demands as a lonely creative genius. The quality even of praised digital literature seems to indicate that, caused by the raising of technical standards, the future lies in what collaborative writing in hypertext or online "Mitschreibeprojekte" did not mange to establish: the dismissal of authorship in the traditional sense of authoritiy over the text in favor of a plural, diverse team-work.

   (Source: article abstract)

   Jill Walker Rettberg - 01.11.2011 - 14:24

3. Writing to be Found and Writing Readers

   Poetic writing for programmable and network media seems to have been captivated by the affordances of new media and questions of whether or not and if so, how certain novel, media-constituted properties and methods of literary objects require us to reassess and reconfigure the literary itself. What if we shift our attention decidedly to practices, processes, procedures — towards ways of writing and ways of reading rather than dwelling on either textual artifacts themselves (even time-based literary objects) or the concepts underpinning objects-as-artifact? What else can we do, given that we must now write on, for, and with the net which is itself no object but a seething mass of manifold processes?

   Eric Dean Rasmussen - 01.12.2011 - 10:59

4. Collaborations in E-lit

   This essay, a discussion between two esteemed e-poets for whom collaboration is an integral part of their creative practice, appeared in the "The Collaborative Turn" special issue of American Book Review, guest-edited by Davis Schneiderman. In their discussion, Montfort and Strickland survey several common types of e-lit collaboration and provide links to representative examples. Strickland explicitly links the material aesthetics of code poetics to literary theorist Timothy Morton's call for critical thinking that engages the universe's enmeshed interconnectedness, which he dubs "the ecological thought."

   Eric Dean Rasmussen - 29.12.2011 - 11:45

5. Electricians, Wig Makers, and Staging the New Novel

   Electricians, Wig Makers, and Staging the New Novel

   Eric Dean Rasmussen - 06.03.2012 - 11:32

6. Cavewriting

   Push aside the thick, dark curtain, step across the cables on the floor and you'll find yourself standing on a white floor with white screens in front of you and to each of your sides. Above you are projectors and speakers. You're given a pair of goggles and a glove. You put them on and wait for Screen to begin. The space darkens. A voice begins to read: "In a world of illusions, we hold ourselves in place by memories." In the dark there is nothing for you to do but listen.

   Screen is a literary work that can only be experienced in a Cave. In a Cave, images -- or in the case of Screen, words -- are projected on all three walls and on the floor. When you stand in the Cave wearing goggles, you experience the projected images as a three dimensional space in which you can move around. The goggles and glove allow the Cave to track your position, so you can control the environment by moving your body and your hand.

   Light over the sill of an unshaded
   bedroom window, into a woman's eyes.
   She turns away, slips half back under sleep.

   Scott Rettberg - 28.01.2013 - 00:51

7. Topdown Digital Literature: The Effects of Institutional Collaborations and Communities

   Contrary to what one might think, institutions play an important role in the production, preservation, and funding of electronic literature. Due to the absence of traditional gate-watchers like publishers and newspaper critics, the function of selection, distribution, and reception of this work has been taken over partly by anthologies, reviews and criticism that are produced in an academic climate. Artists need the necessary channels for preservation, distribution, and critical evaluation of the work, channels that have the power to create “cultural capital”. Even the production of work often takes place in an academic or institutional setting. Literary festivals, conferences and workshops form temporary communities in which planned collaboration takes place. This article addresses institutionalized and planned collaboration and its effects on the production, the presentation, and the content of digital literature.

   (Source: Author's abstract)

   Patricia Tomaszek - 29.04.2013 - 16:01

8. Towards Network Narrative: Electronic Literature, Communication Technologies, and Cultural Production

   In recent years literature and communication scholars, publishing industry commentators, and technology journalists have declared the death of print. Anxieties over the future of print generally, and the novel, literature, books and literacy more specifically have become commonplace in the mainstream news media, technology blogs, and academic discourse. Despite these claims, people may read more than ever – if we recognize a more expansive set of textual practices under the rubric of that term. Given the number of emails, text messages, status updates, image captions, RSS headlines, tweets, web pages, and comment threads that are processed in the digital everyday, our experience of the world is arguably more textually mediated than ever. Are these cultural practices compatible with prose narrative fiction? Are they capable of forming the basis for network narratives now and in the future?

   Scott Rettberg - 25.06.2013 - 13:11

9. Making the Vniverse

   An essay by the authors of V: Vniverse on the making of the project.

   Scott Rettberg - 07.07.2013 - 21:47

10. Collaboration and authority in electronic literature

    This paper explores collaborative processes in electronic literature. Specifically, it examines writer authority as it applies to text, code, and other media. By drawing from cinematic auteur theory, Mitchell’s Picture Theory (1994), Said’s Beginnings: Intention and Method (1975), Cayley’s Grammalepsy (2018), and Flores’s (2019) generational approach to digital literature, this paper highlights unique issues that arise in the creative collaborative production of digital literary works, and the influence these processes have on how these works are ‘read’. The creative processes employed in Montfort, Rettberg, and Carpenter’s respective Taroko Gorge, Tokyo Garage, and Gorge (2009), Jhave’s ReRites (2017–2018), and Luers, Smith, and Dean’s novelling (2016)), as well as reflections on the author’s own collaborative creative experiences (Paige and Powe (2017) with Lowry and Lane, Little Emperor Syndrome (2018) with Arnold, and V[R]erses (2019–) with Breeze) are explored in detail.

    David Wright - 11.11.2020 - 02:59