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1. Intersecting Approaches to Electronic Literature: Close-Reading Code, Content, and Cartographies in “William Poundstone’s “Project for the Tachistoscope: [Bottomless Pit]”

   What does it mean to close read electronic literature? Should one closely engage the screenic content, the programming code, or the operating patterns of a work? This panel proposes that critical analysis need not be limited to one approach or one focal point of attention, and seeks to demonstrate what can be gained when scholars collaborate to apply multiple methodologies to engage a single work. All three panelists will read the same work of digital literature, William Poundstone’s “Project for the Tachistoscope: [Bottomless Pit]” (EL Collection, vol.1), but using three different critical methods with the collaborative goal of approaches that mutually inform and enrich each other. Jessica Pressman will approach the Flash-based animation from the lens of traditional literary hermeneutics, close reading the onscreen literary aesthetics to explore the relationships between form and content as well as locate the points of aporia and mystery that traditional reading strategies are left struggling to explain.

   Audun Andreassen - 10.04.2013 - 11:12

2. The State of the Archive: Authors, Scholars, and Curators on Archiving Electronic Literature

   Archiving electronic literature and the challenges raised by this task is a subject of discourse and action as well as a formative force in shaping the emergence of electronic literature as field of scholarly study. The ELO Visionary Landscapes Conference in 2007 dedicated a keynote position to a panel on the topic of preserving electronic literature with archivists from leading universities, and the panel was a cornerstone of discussion at the conference and beyond. The current proposal for a panel on the topic seeks to continue the conversation while extending it to voices not usually included in critical conversation about archiving— artists whose work is selected for preservation. What kinds of experiences are involved in collecting and handing over one’s oeuvre to an archivist? Does this experience affect the practice (artistic and otherwise) of future creation? Are there specific aspects of these questions and their answers that are specific to the digital nature of the objects?

   Audun Andreassen - 10.04.2013 - 11:21

3. Cave Writing: Reshaping Writing at Brown

   In the spirit of engaging Robert Coover's contributions to the electronic literature field (one of the conference aims) and simultaneously looking at the cutting edge of our field, this panel will discuss the groundbreaking Cave Writing project that Coover has initiated at Brown. It will feature the two primary faculty the project has had over the last eight years (Coover and Cayley), two of the students who have been involved in organizing the project and creating work (Wardrip-Fruin and Gorman), and one of the critics who has looked at this work most seriously (Raley). Topics will include the history of the literary work done in the Brown Cave, the unexpected power of two dimensional typography in three dimensional space, experiences of embodied interaction and spectatorship in combination and tension with literary reading, the role of non-textual images, animation, and sound in the Brown Cave experiments, and others.

   Audun Andreassen - 10.04.2013 - 13:33

4. Intermediality and Electronic Literature

   The 2015 ELO Conference’s call for papers states that "[e]lectronic literature is situated as an intermedial field of practice, between literature, computation, visual and performance art. The conference will seek to develop a better understanding of electronic literature’s boundaries and relations with other academic disciplines and artistic practices."

   This roundtable discussion, led by both established and emerging e-lit scholars and artists, will explore the idea of electronic literature as an intermedial practice, looking at the topic from a wide range of forms including literature, performance, sound, computation, visual art, and physical computing. Drawing upon artistic work they have produced or studied, each panelist will provide a five-minute statement that touches on qualities related to intermediality like hybridity, syncretism, and collaboration. Following this series of brief presentations, the panelists, then, encourage engagement in a wider conversation with the audience.

   Hannah Ackermans - 31.10.2015 - 10:36

5. Archiving Roundtable

   Listed as one of the main themes of the Bergen 2015 ELO conference is the following question: is “electronic literature” a transitional term that will become obsolete as literary uses of computational media and devices become ubiquitous? If so, what comes after electronic literature?

   The notion of obsolescence has been a recurring issue in electronic literature since at least 2002, the date of the ELO Conference at UCLA. At that time, archiving became a general concern in the field. ELO responded with documents such as Born-Again Bits, Acid-Free Bits, and the ELC 1 and 2 Collections. Since that time, with the continual evolution of computational media and devices, the problems of archiving have continued to grow more complicated. The panel proposes to address issues of Archiving based on this re-wording of the conference theme: is electronic literature a transitional practice that will become obsolete as the multiplication of forms of both computational media and devices make literary artifacts more and more difficult to preserve?

   Hannah Ackermans - 31.10.2015 - 10:54

6. CELL ROUNDTABLE - The Consortium for Electronic Literature

   For the ELO 2015 conference, we propose a roundtable discussion about the CELL Project. The Consortium for Electronic Literature (CELL) is a partnership founded by the Electronic Literature Organization that joins together nine research centers worldwide, all developing online database projects devoted to research in electronic literature (e-lit). The project is currently funded by the National Endowment for the Humanities, enabling development of an online index, search engine, and other tools for researching bibliographical and critical material on e-lit. (source: ELO 2015 conference catalog)

   Hannah Ackermans - 31.10.2015 - 11:19

7. What Comes After Electronic Literature?

   Five minute lightning talks addressing the question: What comes after electronic literature?

   Steven Wingate: eLit and the Borg: the challenges of mainstreaming and commercialization
   Leonardo Flores: Time Capsules for True Digital Natives
   Maya Zalbidea, Xiana Sotelo and Augustine Abila: The Feminist Ends of Electronic Literature
   Mark Sample: Bad Data for a Broken World
   José Molina: Translating E-poetry: Still Avant-Garde
   Daria Petrova and Natalia Fedorova: 101 mediapoetry lab
   Judd Morrissey: Turesias (Odds of Ends)
   Jose Aburto: Post Digital Interactive Poetry: The End of Electronic Interfaces
   Andrew Klobucar: Measure for Measure: Moving from Narratives to Timelines in Social Media Networking
   David Clark: The End of Endings
   Damon Baker: "HAPPINESS FOR EVERYBODY, FREE, AND NO ONE WILL GO AWAY UNSATISFIED!": New Developments in the CaveWriting Hypertext Editing System

   (source: ELO 2015 conference catalog)

   Hannah Ackermans - 31.10.2015 - 11:31

8. Touch and Decay: Tomasula's TOC on iOS

   TOC's promotional tease – “You’ve never experienced a novel like this” – became awkwardly literalized when, after a Mac OS update, I could no longer open the novel. The tease inadvertently highlights the obsolescence that locks away so many works of electronic literature from present day readers. Even an exceptional work like TOC – exhibited internationally, prize-winning, the subject of many scholarly articles, underwritten by a university press – is no less subject to the cycles of novelty and obsolescence that render many works of electronic literature only slightly more enduring than a hummingbird. “The accelerating pace of technological change,” N. Katherine Hayles observes, “may indicate that traditional criteria of literary excellence are very much tied to the print medium as a mature technology that produces objects with a large degree of concretization”.

   Hannah Ackermans - 10.11.2015 - 09:57

9. "Learn to taste the tea on both sides": AR, Digital Ekphrasis, and a Future for Electronic Literature

   This presentation will link the trope of “digital ekphrasis” (as articulated by Cecilia Lindhé) and the developing of platforms for “augmented reality” to argue that one probable future for electronic literature lies in the interweaving of “born digital” and print texts in ubiquitous layers of mediation. It will examine three instances of “augmented” print – the multimodal performance of ekphrastic poetry, the AR comic book Modern Polaxis, and the AR epistolary romance Between Page and Screen – all of which demonstrate the power of “intermediation” (Hayles) and foster a critical perspective on it. Looking at these amalgamations of print and digital textuality through the lens of digital ekphrasis reveals that electronic literature will most likely always arouse ambivalence, just as the trope of ekphrasis in traditional media has, for better or worse, provoked a sense of the uncanny through its interweaving of visual, auditory, tactile, verbal, or haptic experiences.

   Hannah Ackermans - 11.11.2015 - 16:12

10. Jokes, Prompts and Models: Engaging Player Collaboration in Netprov

    How can we best invite everyday writers to collaborate and play in electronic literature projects? For the past few years I have being doing projects in a format I call netprov. Netprov (networked improv narrative) organizes the creation of collaborative stories in real time using multiple available digital media. Working with Mark C. Marino and others we have developed a set of working guidelines and suggestions about how to best engage players’ imaginations and extend invitations that will encourage their creativity. I will discuss our methods, our “Rules of the Game” for several netprovs, and describe the degrees of player participation, from Featured Players who adopt ongoing characters to Casual Players who may only contribute a line or an image.

    (Source: ELO 2015 Conference Catalog)

    Hannah Ackermans - 11.11.2015 - 16:35

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