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1. E-Lit in Arabic Universities: Status Quo and Challenges

   E-Lit in Arabic Universities: Status Quo and Challenges

   Reham Hosny - 24.06.2016 - 20:26

2. Bot Rot

   Bot Rot

   Matt Schneider - 24.06.2016 - 20:54

3. Using Theme to Author Hypertext Fiction

   According to Prince (2003), a story can be seen as having three different types of macrostructures or frames: action (plot), existents (characters and setting), and ideas (theme). Research in interactive storytelling has largely focused on the first two types of macrostructure, with little exploration of theme. In this paper I present a “thematic linking” model for authoring hypertext fiction, describe the implementation of this approach in the HypeDyn procedural hypertext fiction authoring tool (Mitchell, 2014), and discuss my initial experiences using this approach to authoring.

   Alex Mitchell - 25.06.2016 - 11:07

4. 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

5. For a New Mnemosyne: Art, Experience, and Technology

   This paper will outline the key elements of an ongoing research project, whose main focus is to explore the application of new technology to the study of key works of modernism, whilst simultaneously arguing that modernism can itself offer fresh perspectives on contemporary digital art. I am interested in the way modernism presents the artwork as both an object to be experienced and as a structured theory of knowledge. This tension can be seen most obviously in such canonical works as Ezra Pound’s Cantos (1917-1969) where his aesthetic of the ‘luminous fragment’ is set against the poem’s larger, Dantescan, vision of history. Concomitantly, I wish to argue that the resources of digital technology offer a significant new set of tools for approaching modernism itself, allowing us to explore the boundary between the work of scholarship and work of art.

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:24

6. Sound and electronic literature: “Under language” and “narrative archaeology”

   This presentation describes the process of remixing (recombining, reconceptualizing) sound artifacts and pioneering works of electronic literature no longer available- (…) The techne proposed here promotes new opportunities and challenges for moving forward with our conceptions and practices regarding sound based electronic literature.

   (Source: ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:27

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. Machine Network Reading

   This paper will analyse Cayley and Howe’s project in order to discuss how reading and writing is configured by Google’s network machine. It will address Google as a primary example of a new interface industry and besides describing how it reads and writes us as readers, it will discuss whether and how we can read it. If Google (…) instrumentalizes and capitalises language as an interface industry, how can we read and write, what can we read and write and on which terms?

   (source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:52

9. Speed Readers and Predictive text: Encounters with New Media Through the Glitch Poetics of Caroline Bergvall and Erica Scourti

   This paper performs a reading of the ‘glitch poetics’ of Caroline Bergvall and Erica Scourti pivoting between analyses of their works via two specific contemporary technologies. As well as reflecting on the artworks themselves, the paper aims to show how the various of forms of error they employ, allow for new perspectives on conditions for contemporary textuality. Glitch poetics is a framework for reading and writing, it refers to a set of tactics in which errors are captured, mimicked or induced to produce moments of “critical sensory encounter” with the technics of language. This perspective on linguistic error is influenced by the ways that glitches and malfunctions have been valorised in media arts’ “glitch art” movement – particularly the way these practices reveal the formally withdrawn aspects of ‘black-boxed’ devices and software. But the glitch is a highly subjective categorisation, and new media – by their very newness – can also be said to constitute ruptures in what was formally inaccessible. Our encounter with new media, in this sense, is often indistinguishable from the unsettling encounter we associate with glitch.

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:55

10. Algorithmic Adaptations – Writing With and Against the Intelligent Machine

    I will outline my understanding of how writing through digital media extends the practice of self-translation (an area which has recently attracted attention in translation studies) and writing in general. As an example of technogenesis, writing with and against the intelligent machine opens a wide spectrum of interaction where the human actor both adapts to and resists the influence of the digital media. Writing through this type of translation becomes a self-reflexive practice, in which the translation functions as a mirroring device that prompts the writer to return to the “original” and then again to the “translation.” Ultimately, the outcome is a back-and-forth process in which the binary between original and translation collapses.

    (Source: Abstract ICDMT 2016)

    Hannah Ackermans - 08.12.2016 - 14:59

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