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1. Digital Arts and Literature – Is it Just a Game?

   “Games are not serious; digital art and literature are playful; therefore they are not serious”. Formulations such as these are sometimes used when discussing the playfulness of digital art and literature. The origin of this argument is based on the traditional opposition between “serious” and “playful”. Because of their interactive nature, digital art and literature have often been considered as particularly close to play - and to “mass culture”. Depending on the approaches, this proximity is interpreted as an opportunity, or as a risk, as I will show in this article.

   On the one hand, art and play are so closely related that it has become commonplace to assert: “art is play”, “play is art”. On the other hand, it seems equally impossible to deny the existence of playfulness in art and literature. Indeed, is it not one of their fundamental privileges to allow free, unselfish play with the materials, codes and conventions, while science, craft industry, and industrial design are "condemned" to produce and capitalise?

   Patricia Tomaszek - 12.01.2011 - 16:44

2. The Presumed Literariness of Digital

   This presentation will challenge the current, too quickly determined relationship between
   the ‘literary’ and digital media. The presumed literariness of digital art--these days, anything
   from performance art to virtual sculpture work--muddles the already confused and meandering
   genre of electronic literature, leading away from acts of reading and remarking on text and its location in new media. Electronic literature began as a study of literary writing produced and
   meant to be read on a computer screen, opening up new possibilities for interactive and dynamic
   storytelling, utilizing the new medium’s ability for linking lexias. The literariness of this work
   is manifest: the work was primarily textual, the centrality of reading paramount. Textuality was
   at the heart of the work, thus the term electronic literature was appropriate and uncontested.
   Lately, ‘electronic literature’ is an umbrella-term for all things digital. A spectrum of genres
   and forms are included, among them video games, interactive fiction, digital art, and (virtual)
   

   Eric Dean Rasmussen - 19.06.2012 - 14:41

3. Is the Future of Electronic Literature the Future of the Literary?

   Is the Future of Electronic Literature the Future of the Literary?

   Scott Rettberg - 12.01.2013 - 11:01

4. Determining Literariness in Interactive Fiction

   Questions whether the world presented in interactive fiction is a "literary one." Defines "literariness" as quality of "making strange" that which is linguistically familiar. Randall presents study of: "Mindwheel,""Brimstone,""Breakers,""A Mind Forever Voyaging,""Portal," and "Trinity." Suggests that the literariness of interactive fiction comes out of its concern for "making strange" what is familiar and vice versa.

   Jill Walker Rettberg - 29.06.2013 - 09:42

5. Med literaturo in novomedijsko umetnostjo: sonetoidni spletni projekti Vuka Ćosića in Tea Spillerja

   Franco Moretti’s notion of “distant reading” as a complementary concept to “close reading,” which has emerged alongside computer-based analysis and manipulation of texts, finds its mirror image in a sort of “distant” production of literary works—of a specific kind, of course. The paper considers the field in which literature and new media creativity intersect. Is there such a thing as literariness in “new media objects” (Manovich)? Next, by focusing on the websites that generate texts resembling and referring to sonnet form, the article asks a question about the new media sonnet and a more general question about new media poetry. A mere negative answer to the two questions seemingly implied by Vuk Ćosić’s projects does not suffice because it only postpones the unavoidable answer to the questions posed by existing new media artworks and other communication systems. Teo Spiller’s Spam.sonnets can be viewed as an innovative solution to finding a viable balance between the author’s control over the text and the text’s openness to the reader-user’s intervention.

   Scott Rettberg - 16.10.2013 - 16:19

6. (Electronic) Literature and the (Post)human Condition

   Electronic literature exists in a perpetual state of flux, due to its reliance on digital technology; with the rapid progression of processing power and graphical abilities, electronic literature swiftly moved from a reliance on the written word into a more diverse, multi-modal form of digital arts practice. The literariness of early electronic literature is manifest: the work was primarily textual, the centrality of reading paramount. The current crop of electronic literature--with its audio-visual, multimodal nature--calls into question the literariness of this work, however, as is evidenced by this year's call for papers. I propose that this ambiguity as regards literariness and written textuality in electronic literature disadvantages the field, in both academic circles and in the search for a wider reading audience. If electronic literature as field is to assert and validate its position within the greater literary tradition, links between electronic literature and past literary achievements need to be uncovered and illuminated.

   Daniela Ørvik - 19.02.2015 - 15:49

7. The Computational Sublime in Nick Montfort's ‘Round’ and ‘All the Names of God’

   What if the post-literary also meant that which operates in a literary space (almost) devoid of
   language as we know it: for instance, a space in which language simply frames the literary or
   poetic rather than ‘containing’ it? What if the countertextual also meant the (en)countering of
   literary text with non-textual elements, such as mathematical concepts, or with texts that we
   would not normally think of as literary, such as computer code? This article addresses these
   issues in relation to Nick Montfort’s #!, a 2014 print collection of poems that presents readers with the output of computer programs as well as the programs themselves, which are designed to operate on principles of text generation regulated by specific constraints. More specifically, it focuses on two works in the collection, ‘Round’ and ‘All the Names of God’, which are read in relation to the notions of the ‘computational sublime’ and the ‘event’.

   (Source: Author's Abstract)

   Mario Aquilina - 13.01.2016 - 10:57

8. Understanding Cosmo-Literature: The Extensions of New Media

   The central objective of this paper is to provide a new conceptual theoretical framework starting from the role of new new media in shaping a new kind of literature, which I call Cosmo-Literature. Towards this, I start working from Levinson’s differentiation among old media, new media, and new new media to arrive at the difference among the variable types of media. Next, I address the role of new new media in establishing world democracies and changing the social, cultural, and political world map. After that, I investigate the terms of “global village” and “cosmopolitanism” in relation to literature. To clarify what I mean by Cosmo Literature, I will investigate two new new media novels: Only One Millimeter Away, an Arabic Facebook novel by the Moroccan novelist Abdel-Wahid Stitu, and Hearts, Keys and Puppetry an English Twitter novel by Neil Gaiman, to infer the characteristics of Cosmo literature in general and Cosmo narration in particular.
   

   Hannah Ackermans - 17.01.2017 - 15:35