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1. Creative Communities: Nooks, Niches, and Networks

   Creative Communities: Nooks, Niches, and Networks

   Eric Dean Rasmussen - 08.09.2011 - 16:38

2. Electronic literature or digital art? And where are all the challenging hypertextual novels?

   Lack of new and challenging, interactive hypertextual fictions causes a continuously growing frustration among literary scholars like myself. While we are witnessing a growing and exciting field within digital poetry, and especially digital art as such, hypertextual fictions seem to have become part of and/or floating into interactive digital performance and installation artworks. Noah Wardrip-Fruin’s CAVE-work Screen and Camilla Utterback’s Text Rain are among digital artworks based on text and words. According to Roberto Simanowski in “Holopoetry, Biopoetry and Digital Literature” (2007), however, Utterback’s work in particular, must be seen as a work of digital art rather than literature, since its aim is not to be read but to be played with. So how much text, how many literary generic traits must a hypertextual fiction include to be called literature and not digital art?

   Jill Walker Rettberg - 18.06.2012 - 11:10

3. Machine Subjectivity, Politics and Digital Arts

   Although human interaction with technological artifacts often involves treating them as if they are alive, the dominant discourse in our society portrays technology as the instrument of its human master. In the context of computing, our desire of absolute control over machines manifests itself both as the human computer interaction (HCI) community’s emphasis on “usability” and as popular culture’s apocalyptic imagination of the out-of-control artificial intelligence (AI) systems trying to eliminate humanity. It is revealing that, for instance, the word “robot” comes from “slave” in Czech. This paper examines the social and aesthetic limitations of this narrow instrumental view of technology. It proposes an alternative interaction model based on machine subjectivity, that is, constructing and perceiving computer systems as an independent entity in its own right.

   Audun Andreassen - 10.04.2013 - 13:42

4. 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

5. Electronic Literature, or Whatever It’s Called Now: the Archive and the Field

   The umbrella term ‘electronic literature’ arches broadly over a multitude of digital art forms, so long as they satisfy the criteria ‘electronic’, and ‘literature’. However, it is this paper’s primary contention that the extent of the term’s coverage is delimited by whatever has already been archived. Understandings of what constitute ‘literature’ and the ‘literary’ are manifold and include concepts of the letterary (also as in ‘belles lettres’), the poetic, the lyrical – but also, the canonical, and the institutional. This paper will argue that that which can now be pointed to by literary and digital humanities scholars, and called ‘electronic literature’, is in large part only recognisable because archivisation has been used in its regard as an instrument for institutionalisation and canon-creation. This body of work is also only findable because archivisation has preserved it, faced as it is with the constant threats of platform erosion, and obsolescence sooner rather than later. Archivisation is therefore both a problem of media, and a problem of selection.

   Vian Rasheed - 12.11.2019 - 03:35

6. Executable Landscapes: Speculative Platforms for Ecological E-Literature

   The contemporary digital environment is made possible through a matrix of behemoth infrastructures that traverse the orbital, atmospheric, oceanic, and terrestrial domains. These infrastructures manifest not only in the narrowly technical sense, but encompass the manufacturing chains, regulatory interfaces, and geopolitical contexts that enable (or forestall) the development, deployment, and maintenance of digital systems at a global scale.

   Underpinning all these aspects are the flows of energy and materials constituting the liveable Earthly ecology. The latter comprises the ultimate baseline ‘platform’ on which specific digital platforms, as more commonly expressed, are enabled—but which, being so defined, can obscure these far larger structures and processes in which they are embedded.

   Milosz Waskiewicz - 25.05.2021 - 15:09

7. Art of the Pan-Opt-in-a-Con: FarmVille and the Gamification of the Digital Landscape [Original: The Tyranny of Completion; Or, How Electronic Art Can Engage the Firehose]

   Toward the end of 2020, one of the most culturally impactful web games of all time shut down—at least, the original, Flash-based version did. FarmVille, by social game studio Zynga, was not outstanding for its gameplay mechanics nor for its imaginative qualities. In fact, social games like Farmville are defined by game designer and scholar Ian Bogost as “games you don’t have to play.” Rather, FarmVille was special because it tapped into 2009-era Facebook’s lax user-generated notification system, and its developers succeeded in creating a user-operated spam cannon disguised as a game. What made FarmVille a cultural phenomenon is best represented by the metanarrative about how it manufactured and sold compulsive behavior to a new audience. By targeting ludic luddites with its folksy facade and “freemium” business model, FarmVille ushered in a new era of games that encouraged users to exchange money for in-game effects.

   Milosz Waskiewicz - 25.05.2021 - 15:20