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1. All Tomorrow's Parties

   A plenary presentation for the biennial conference of the Electronic Literature Organization focused on the circumstances of the founding of the organization and on the work of novelist Robert Coover on the occasion of his retirement from teaching, delivered in a scripted and parodic style appropriate to the subject. Co-presented with Rob Wittig.

   Scott Rettberg - 26.02.2011 - 15:59

2. Mobilizing the Poli

   A detailed review of Judd Morrissey and Mark Jeffery’s The Precession. Published July 14, 2011.

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   Judd Morrissey’s newest work, theprecession.org is a website that redefines the act of reading literature on the internet in order to draw attention to the ways that reading is changing in our world. The website truly functions as the new book, with chapters that organize his intentions within the project into discrete capitulations of his ideas. My paper is mostly an analysis of the centerpiece of the website, POLI, because of its time-based nature: it uses real-time data capture and provides an extended period of time for the reading of the piece itself. POLI is a significant piece of contemporary literature because of its consciousness becomes political comment through the uses of our various languages.

   Scott Rettberg - 22.07.2011 - 13:08

3. Primal Affective Ground and Digital Poetry

   Since the first symbolic scripts emerged, language has always been visual. My own work explores how language's visual can be read both as art and as poetry; how affect is amplified by sound; how generative and combinatorial layouts of text-video-sound open art from linear readings into infinite variations perspectives.
   For ELO, I am interested in creating an artist talk that utilizes content derived from two essays on digital poetry written for my comprehensive exams in the summer of 2009. The original essays are entitled: "Affecting Language: interdisciplinary explorations of emotion (new media, neuroscience, phenomenology and poetry)" and "Defining Creative Conduits: mediations on writing in digital media". Since both essays (as take-home exams) were each written over a brief 72 hour span, I look fwd to the opportunity of synthesizing and refining their argument into a presentation format.
   (Source: Author proposal)

   Eric Dean Rasmussen - 20.03.2012 - 12:42

4. Virtual Communities and Collective Narratives: From Tokyo to Mercedes, Buenos Aires.

   The spread in the use of blogs, bulletin boards and wikis during the first half of the present decade gave rise to discussions about the possible applications of these emerging technologies to a wide range of collaborative enterprises. From building Internet communities to authoring encyclopedias, or producing collective narratives in the form of fan-fictions, blog-fictions or wiki-novels, users from around the world have been exploring the opportunities for innovation, socialization, and artistic creation brought forth by these collaborative platforms. This paper examines the intersections between two of the most influential collective narratives produced in recent years in cyberspace: Train Man, the Internet story of a 23-year-old geek (otaku) who relies on an online community to reduce his geekiness and find a girlfriend; and A Fat Woman Weblog (Weblog de una mujer gorda), the story of a middle class family from Mercedes, Argentina, as told from the perspective of an Argentine housewife (a fictional character impersonated by Hernán Casciari).

   Audun Andreassen - 14.03.2013 - 14:29

5. Making Sense: aspects of the literary in electronic environments

   This paper investigates the manner in which e-literature is reconstructing and intensifying some of the sensory capacities of literary language. The interactive nature of many works, as well as their use of image and sound and the fact that the ‘surface’ text is produced and informed by a ‘deeper’ level of generative code, means that new critical concepts, vocabularies and ways of reading adequate to this new situation need to be developed. Katherine Hayles. John Cayley, Talan Memmot, and Rita Raley, have all written authoritatively on the importance of software and code in determining approaches to electronic poetics, and the difference this makes to how we understand new media writing. Matt Kirschenbaum makes the distinction between formal and forensic materiality in order to break down the emergent logics at play in the digital ‘text’. We introduce a different perspective, one that focuses on the ecology of the body (its distribution) in its engagement with different forms.

   Audun Andreassen - 14.03.2013 - 14:36

6. Space for writing: a sidelong glance at the history of immersive spatial hypertext

   The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.

   (Source: Author's abstract for ELO_AI)

   Audun Andreassen - 14.03.2013 - 14:42

7. Writing Organism: CAPTCHA as a paradigm of *literary* digital textuality

   I start from CAPTCHA, those distorted strings of letters set against colors and designs, which we all recognize and rewrite to gain access to web sites. CAPTCHA operate in a complex intersection between commercial and scientific institutions, on the one hand, and concepts of mind and being, on the other. The Turing test is the background supposition of CAPTCHA's claim that recognition and rewriting is the iterative presentation and production of a singular human self. It is iterative and weak, in that it must be repeated and rewritten, and in that it is open to failure and misrecognition. It is singular and productive in that each test ties to an event that can be leveraged commercially - as in the reCAPTCHA project or (I argue) in related "distributed work" programs such as the Amazon Mechanical Turk - and in that the "weak performativity" couples the test to a range of net activities on the part of a speaking subject. (I contrast this to the traditional linguistic "shifters," and instead approach the subject in terms of a Kleinian "psychoanalytic graphology.")

   (Source: Author's abstract for ELO_AI)

   Audun Andreassen - 14.03.2013 - 14:46

8. Remediating Stretchtext

   Seventeen years have passed since Coover's inspiring call to defy the tyranny of the line through hypertext, "where the line in fact does not exist unless one invents and implants it in the text." The profound influence of that clarion shaped the development of electronic literature and attracted the scorn of critics — Sven Birkerts, Laura Miller, Michiko Kakutani – who villified hypertext in defense of the line. Overlooked in the controversy is the embarrassing fact that, even today, we know remarkably little about inventing, implanting, and cultivating the narrative line in its organic richness. We know sequence and rhizome well, but the contours of recursus, timeshift, and renewal remain, for most writers, an arcane craft.

   How may we render a satisfactory account of complex events, fictitious or historical? We want hypertext narrative to do things we cannot achieve in print, and though we may occasionally use links or actemes to introduce variation in presentation or in story, it is now clear that hypertext will most frequently prove useful in changing (or adapting) plot.

   Audun Andreassen - 14.03.2013 - 15:04

9. Towards the delight of poetic insight

   I am interested in the specific nature of POETIC insight and knowledge (Erkenntnis) in relation to other systemic spheres like, e.g., science or religion. As an approach to this subject my paper will discuss how poetic knowledge is addressed by the handling of ‘innovation’. Innovation will be observed as feature between reflexivity and potentiality in poetic experimentation. These poetological categories will be related to both practical and theoretical forms of technology driven language art. As exemplary forms I will focus on the radio play "Die Maschine" (The Machine, 1968) which simulates an Oulipo computer and was written and realized by George Perec and on its poetic comment by Florian Cramer (pleintekst.nl, 2004) as well as on the historical concept of ‘artificial poetry’ by Max Bense (in respect of his 100st anniversary) in the light of recent poetological concepts of innovation.

   (Source: Author's abstract)

   Audun Andreassen - 14.03.2013 - 15:18

10. Eccentric Gameplay: Simulating the Digital Any-Space-Whatever

    Our paper will address issues related to aesthetic gaming and the way in which concepts of the literary are being reconfigured in a new genre of videogames that we have termed eccentric games. Using games such as Achron (forthcoming 2010), Braid (2008), Cursor*10 (2008), Echochrome (2008), levelHead (2008), Game-Space (2008-09), and Portal (2007), we suggest this genre can be characterized by game mechanics which manipulate space and time in such a way that the player must access a logic indigenous to digital environments. Eccentric games can be further described through their reliance on filmic interface as an apparatus for modeling eccentricity, tutorialized presentations of gameplay, and its common classification within the overextended "puzzle" genre.

    Audun Andreassen - 14.03.2013 - 15:22

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