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1. Electronic Literature

   Entry on electronic literature providing a history of the term and exploring its contended usage.

   Electronic literature is a generalized term used to describe a wide variety of computational literary practices beneath one broad umbrella, defined by the Electronic Literature Organization as “works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer.”

   Scott Rettberg - 01.11.2013 - 09:58

2. Electronic Literature and Online Literary Databases: The PO.EX and ELMCIP Cases

   This essay reflects on the shift of user interaction operated by online literary archives and databases. One can easily recognize a change of scenery happening in the current networked world, given the way authors and general public produce, catalog, tag, access, research, analyze, preserve and share knowledge.
   In the field of electronic literature, the creation of several collaborative and open access databases attests this trend. For this purpose, I review two of them: the PO.EX Digital Archive of Portuguese Experimental Literature and the ELMCIP Electronic Literature Knowledge Base. My aim is to contribute to an informed view on how these online literary databases are shaped and are shaping the field: What is their scope? How do they operate? What kind of navigation and user input exists? Why should they really matter?
   Finally, I use these insights to develop some considerations concerning the relations between memory and archive, and different perspectives on electronic literature preservation.

   (Source: Author's Abstract)

   Alvaro Seica - 14.05.2014 - 14:29

3. Learning to Throw Like Olympia: E-Lit and the Art of Failure

   Viewed next to print literature, e-lit appears as a poor copy, a replica(nt) lacking both the genius agency of modernism and the abject subjectivity of postmodernism. In this talk, I will use the concepts of re-territorialization (Deleuze and Guattari) and “the open” (Giorgio Agamben) to show how, like Hoffman’s automaton, the “born digital” is powerful precisely because it fails to deceive. Neither preserving nor directly opposing the conventions of print-lit, e-lit functions as a reflecting apparatus that unmasks language and meaning-making as machines through the revelation of its own machine-works. Using multifarious examples from the work of Alan Bigelow, Mez Breeze, Emily Short, Jason Nelson, and others, I will show how these re-inscribe obstruction, glitch, error, randomness and obsolescence as potentiality. In doing so, they repurpose the productive and reproductive functions of writing not for some finite end or product, but for play.

   (Source: author's abstract)

   Jill Walker Rettberg - 19.06.2014 - 20:09

4. Visualizing la(e)ng(-u-)age

   Electronic literature not only engages “new media” elements (such as links, navigation, structure, animation, color, images, sound, computer programming) but also toys with the very foundation of literature—the language itself. After 20 years, we need to look back to remind people about these en(gag)(-tangl-)ements. As language is rapidly shifting with new te(xt )chnologies, we need to look ahead to see where electronic literature can engage with these emerging forms of language.

   First, I will briefly present previous works to provide a history of electronic literature’s engagement with language. I will cover:

   Character-augmented languages such as:

   · Talan Memmott’s Lexia to Perplexia and Mez’ mezzangle (languages using regular fonts which add or subtract characters to words to create other words, usually employing parentheses)

   · My work-in-progress Chronic (a handwritten language which adds or subtracts letters in a similar manner but employing upper characters to add letters and overbars to subtract letters)

   Visual languages such as:

   Scott Rettberg - 19.06.2014 - 20:31

5. Computational Editions, Ports, and Remakes of "First Screening" and "Karateka"

   Print literature has a deep, theoretically-engaged history of scholarly editing practice which provides a powerful framework within which to understand different versions or editions of texts and the natures and sources of their differences. While scholarship on electronic literature has brought in forensic, bibliographic, and platform-related concepts in the last decade or so, only recently have original computational works been considered in this way. Much of the discourse around “digital editions” has focused on the creation of electronic versions of print works.

   Alvaro Seica - 20.06.2014 - 00:20

6. Antiabecedarian Desires: Odd Narratology and Digital Textuality

   Writing systems break temporal barriers and enable the sharing of knowledge and its preservation. As if they were living organisms, the narratological structures that conform textual communication are made up of replicative ordering principles and coding forms whose roots can be traced back to a Semitic proto-alphabetic script. However, literary history also includes many examples that, like viruses, have sought to disrupt the body of alphabetic textuality. This paper looks briefly at three fundamental artists, James Joyce, Jorge Luis Borges, William Burroughs, and at some contemporary pieces of electronic literature. Their questioning of ABC ordering patterns anticipates the debate on the importance or not of linear structures in representation systems.

   Maya Zalbidea - 19.08.2014 - 14:15

7. In the Absence of the Publisher's Peritext

   To Genette, the basic “nature of the paratext” is functional (7). In his theoretical account, he
   presents a number of paratextual units (title, dedications, epigraphs etc.) and proofs its functionality through the analysis of respective examples. At the same time, he alerts that
   paratexts may be unproductive and notes: “from the fact that the paratext always fulfills a
   function, it does not necessarily follow that the paratext always fulfills its function well” (409).
   That said, paratexts may be dysfunctional in that a paratext does not meet the function Genette
   originally envisioned. A paratext is also dysfunctional if it is absent where it’d be expected: based
   and bound to the materiality of the book-as-object, Genette has developed a map to locate the
   types of paratexts he designates. As per Genette, a preface supposedly precedes a work and an
   epigraph shouldn’t intervene a body’s text. Likewise, the publisher’s peritext spans around and
   within the body of a work, while the epitext is located outside of a work’s material body. A paratext’s location thus defines its function.
   

   Alvaro Seica - 29.08.2014 - 10:23

8. Posthumanism and Electronic Literature

   Posthumanism, according to Cary Wolfe, "names a historical moment in which the decentering of the human by its imbrication in technical, medical, informatic, and economic networks is increasingly impossible to ignore" (xv-xvi). This conference paper brings the framework of posthumanist philosophy to bear on the field of electronic literature, at a critical moment in time wherein our conception of the human, and of literature, are fundamentally questioned through digital technology. I argue that humanist philosophy is explicitly tied to the rise of print literature, via Elizabeth Eisenstein (1979), while posthumanism is linked with digital media (Wolfe 2010) and, by extension, electronic literature. Furthermore, posthumanism interrogates assumptions of autonomy and subjectivity inherited from humanism, and via cybernetics articulates an image of the human as another information-processing machine. Electronic literature's reliance and amalgamation of natural and artificial languages (most noticeable in “codework”) reflects the posthumanist critique of the supposed binaries between human and machine.

   Thor Baukhol Madsen - 17.02.2015 - 16:02

9. Futures of Electronic Literature

   E-lit authors Stephanie Strickland and Marjorie Luesebrink organized a panel on the “Future of E–Lit” at the ELO 2012 conference, allowing emerging and early career authors to articulate institutional and economic, as well more familiar technological, developments that constrain and facilitate current practice. The panel papers were released in ebr in March 2014. Luesebrink and Strickland followed up with comments on the papers, offering a “progress report” on the future of the field. The individual responses are available as glosses on the essays and in full here. (Source: ebr)

   Sondre Skollevoll - 25.08.2016 - 15:42

10. Digital Literary Arts - Scandinavian E-Texts: Criticism, Theory, and Practice

    Electronic literature (e-lit) constitutes one of the most innovative and exciting literary forms occurring today; it is the unique child of this new technological age. Scandinavian e-lit is no exception, yet it has frequently been overlooked by literary academics in both the United States and Scandinavia. This dissertation investigates how Scandinavian e-lit engages with printed Scandinavian literature, and how critical analysis of Scandinavian literature can benefit from an understanding of e-lit. In this dissertation I argue that, far from relegation to the outer margins of Scandinavian literary research and studies, Scandinavian e-lit, and scholarship on such works, ought to occupy a central position in the field, alongside print-based counterparts. Such a shift in focus would create a new vantage point from which Scandinavianists could analyze canonical and contemporary works of print-based Scandinavian literature.

    Anika Carlotta Stoll - 16.09.2020 - 10:50

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