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1. Multimedia Criticism

   Commentary on the Multimedia Criticism panel discussion at the Electronic Literature Symposium: State of the Arts (2002). Robert Kendall moderated the panel. Rita Raley, Joseph Tabbi, Thomas Swiss, and Jane Yellowlees Douglas were the panelists.

   Eric Dean Rasmussen - 22.02.2011 - 15:52

2. Adventures in Mot-Town

   In his State of the Arts keynote, Coover offered a tour of a number of contemporary works of electronic literature, in the style of an adventure story following our hero "Mot" -- the word -- as it wrestles through the multimediated world of graphic networked technologies.

   Scott Rettberg - 30.05.2011 - 16:17

3. Highways of the Mind

   Highways of the Mind explores the history of the interstate highway system and its transformative impact on the physical and cultural landscapes of America. Beginning with the 1939 New York World’s Fair and
   tracing the development of America’s automotive culture, Highways of the Mind combines interactive
   multimedia features with original scholarly content to provide new insight into the figure of the
   superhighway as a metaphor for social progress through technology. We show that the
   superhighway is a compelling 20th-century metaphor that reveals the complex nature of humankind's
   fascination with technologies of transportation, from our fantasies of techno-utopianism to our
   anxieties about the disappearance of nature and the dehumanizing impact of modern technology.

   A scholarly multimedia work exploring the rhetorics and cultural impact of the American superhighway system in urban planning, urban/environmental criticism, ecological studies, infrastructural studies and science fiction.

   Helen Burgess - 20.06.2012 - 18:55

4. Giving form to choice: tree-structures and the question of notational systems in multimedia.

   A selection of exercises de style based on Raymond Queneau’s Un Conte à Votre Façon shall serve to analyze the transitions from written text, to tree-structure, to multimedia, dialogic form. Queneau’s own rendering of the paths contained in his text is a rectangular, closed shape; it evokes both a constellation and an abstract painting, flattening out the horizon of choice. Others have diagramed “Un Conte à Votre Façon” quite differently, with metaphors that suggest alternative ways of revealing elements of Queneau’s text during an interactive “wreading”.

   Annotating gesture is linked to the larger issue of how to represent interlocutors in a complex dialogic chain. Un Conte à Votre Façon includes, among others, Queneau the “scriptor”, who answers our “yes” or “no”; imaginary characters, with whom we may identify and who lend their voice to some of our choices; a more or less tacit programmed “intelligence” that determines the evolution of the interface; not to mention our own inner-voice, anticipated by Queneau but shaped by a multimedia incarnation that transforms the status of his text to that of a score.

   Audun Andreassen - 14.03.2013 - 15:57

5. Reading, Seeing, and Sensing: The Internet of Things Makes Literature

   Critics have understandably fetishized the electronic page or digital screen as a way to understand the relationship between the algorithmic logics that drive computation and the public rhetorics of display. At the same time an evolving set of practices within electronic literature continues to be in dialogue with contemporary digital media arts practice and its move to explore the meaning of incorporating autonomous sensing and new forms of human-computer interaction in dialogic works. Considering the rhetorical position of devices such as the iPad and considering them as more than viewing apparatuses or interfaces for reading it is possible to engage differently with a whole set of binaries around camera vs. scanner, optics vs. sensors, and representation vs. registration.

   Hannah Ackermans - 16.11.2015 - 09:45

6. Transmedial and Transnational (Re-)Contextualisation: The Atlas Group Archive as an Instance of Traveling Memory

   Walid Raad's The Atlas Group Archive (1989-2004) is a transmedial, fictional 'archive' which supposedly encompasses donated testimonies on the war in Lebanon (1974-1991), including diary logs, photographs (some of which contain notes), and videos, archived on theatlasgroup.org. In this case, the fictionality of the archive creates an archive where no real archive exists. The entire archive is transmedially constructed, in which the layering of content in each image becomes the key feature. There is, for example, a document named "Let's be honest the weather helped" (1998) contains a series of black-and-white images of buildings with colored dots on them, which supposedly signify various types of bullet hits (see fig. 1). The dots cover the whole area of bullet impact, so this media filter makes it impossible to verify if there were indeed bullet hits, and let alone which color the bullet tips were. The transmediality of the project is thus a means in conveying the impossibility of an archive and the unrepresentability of trauma. Medial borders are crossed through layering of content, reinforcing and destabilizing the truth value of testimony.

   Hannah Ackermans - 29.11.2016 - 15:20

7. Writing Without Type: Explorations in Developing a Digital Writing Practice

   As new ways of sharing stories emerge, how does this impact on our writing processes, the ways in which they are informed by previous practices, and the development of new possibilities? Technologies shape stories (Zipes, 2012, p. 21), yet as digital texts take on ever more varied forms – multimedia, sensor-driven, embedded in objects and located in landscapes – contemporary writing practices remain linked to the production of the printed book (Bolter, 1991, p. 5). This paper considers opportunities and challenges in shifting from using only chirographic and typographic tools in writing practice to utilising methods from the oral tradition and other practices.

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:39

8. Multimedia Textuality; or, an Oxymoron for the Present

   Katherine Acheson’s free-standing hypertext demonstrates how design can reinforce what’s said, offer a counterpoint, and, occasionally, convey a critique of the critic.

   (source: http://electronicbookreview.com/thread/criticalecologies/illuminated) 

   Malene Fonnes - 16.10.2017 - 10:44

9. В метро (и снаружи). Наблюдения

   В метро (и снаружи). Наблюдения

   Raoul Karimow - 28.11.2017 - 02:00

10. #ELRFEAT: Entrevista a Joesér Alvarez (2017)

    This is the first interview of a series called Electronic Literature Review Featuring. I re-publish interviews of other web pages with the permission of the interviewer or the interviewee.

    Daniele Giampà - 07.04.2018 - 15:26

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