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1. Storyworlds we never leave: long-form interactive narratives, Google Glass and new audiences

   Over the past year I have been exploring the creation and reception of dense, spatialized augmented reality novels that can be experienced via optical see-through glasses, like Goggle glass or Meta -- displays that finally allow a spectator/reader/viewer to wander hands-free though poems and secrets and dreamscapes while they also see and experience the analogue world.

   I am interested in the idea that spatialized AR novels will be explored over days or weeks, not hours, with a granularity and density of text that we have not yet seen in in situ or mobile works - a new generation of electronic writing that combines the density of a novel alongside the rich linkages and possibilities for re-reading promised by early hypertext combined with the potent poetics of the interplay between real and fictional worlds and the bodies walking through them.

   Thor Baukhol Madsen - 13.02.2015 - 10:57

2. Text Under Glass: The Place of Writing within Interactive Objects

   This presentation explores the theoretical implications of the ways in which text is used within
   interactive glass objects. As car windshields, kitchen counters, bathroom mirrors, restaurant
   tabletops, and other glass surfaces are increasingly wired to respond to human touch, how does
   this change our perception of the text housed therein and what stories does this text tell us about
   the state of interactive objects?

   Thor Baukhol Madsen - 13.02.2015 - 11:16

3. Beyond the Googlization of Literature: Writing Other Networks

   It's true, poets have been experimenting with producing writing (or simply writing, just writing of a sort not familiar to us - writing as input and writing as choosing) with the aid of digital computer algorithms since Max Bense and Theo Lutz first experimented with computer-generated writing in 1959. What is new and particular to the 21st century literary landscape is a revived interest in the underlying workings of algorithms, not just a concern with the surface-level effects and results that characterized much of the fascination in the 1970s and 1980s with computer-generated writing. With the ever-increasing power of algorithms, especially search engine algorithms that attempt not just to "know" us but to in fact anticipate and so shape our every desire, our passive acceptance of these algorithms necessarily means we cannot have any sense of the shape and scope of how they determine our access to information, let alone shape our sense of self which is increasingly driven by autocomplete, autocorrect, automata.

   Daniela Ørvik - 17.02.2015 - 15:47

4. Examining the Role of Micronarrative in Commercial Videogames, Art Games and Interactive Narrative

   Integrating story with games in a flexible way that gives interactors meaningful choices within a narrative experience has long been a goal of both game developers and digital storytellers. The "micronarrative" is an unexplored avenue of narrative structure that can be a useful tool in analysis and design of such experiences. A micronarrative is a smaller moment of plot coherence and miniature arc that is nested within a larger narrative structure. The concept was first labeled by Jenkins in 2004 in the context of a game's "meaningful moments" and expanded upon in Bizzocchi's 2007 analytical framework for videogame storytelling. It has its roots in earlier examinations of arc and scale, such as Propp's concept of "Functions" or McKee's "Beats" in literature, as well as in Barthes’ classification of a “hierarchy of levels or strata” which incorporates “micro-sequences” as described in his structural analysis of narrative (1975).

   Daniela Ørvik - 17.02.2015 - 15:57

5. Posthumanism and Electronic Literature

   Posthumanism, according to Cary Wolfe, "names a historical moment in which the decentering of the human by its imbrication in technical, medical, informatic, and economic networks is increasingly impossible to ignore" (xv-xvi). This conference paper brings the framework of posthumanist philosophy to bear on the field of electronic literature, at a critical moment in time wherein our conception of the human, and of literature, are fundamentally questioned through digital technology. I argue that humanist philosophy is explicitly tied to the rise of print literature, via Elizabeth Eisenstein (1979), while posthumanism is linked with digital media (Wolfe 2010) and, by extension, electronic literature. Furthermore, posthumanism interrogates assumptions of autonomy and subjectivity inherited from humanism, and via cybernetics articulates an image of the human as another information-processing machine. Electronic literature's reliance and amalgamation of natural and artificial languages (most noticeable in “codework”) reflects the posthumanist critique of the supposed binaries between human and machine.

   Thor Baukhol Madsen - 17.02.2015 - 16:02

6. Projected Poetry: From the Medium Specific to the Complex Surface

   I would like to propose a paper that centers on the specific poetic form of the mesostic. The mesostic not only allows us to reflect on the specific qualities of and differences between print, analog film, and digital born works, but also inspires thinking about complex surfaces picked up by John Cayley and Wardrip-Fruin, among others. My intervention would thus at once make a case for an “old” form of digital literature (the projected poem) and continue emerging debates on the future of textual practices that rely on contemporary developments in computer technology.

   FLUXUS related artists such as John Cage, Jackson Mac Low, and Dick Higgins saw in the printed mesostic a way of organizing language that dispenses with grammar and syntax, which rely on linear structuring principles. The printed mesostic, by contrast, is basically organized around a phrase printed vertically on the page, whereby each letter intersects the middle of horizontally distributed lines, although additional, seemingly random rules complicate and enhance its poetic possibilities. I shall analyze more (as well as less) convincing works in this genre.

   Elias Mikkelsen - 19.02.2015 - 14:56

7. Echo Chambers: The Colossal Cave within House of Leaves

   Inspired by Mark Z. Danielewki’s z House of Leaves (2000) and Will Crowther’s Colossal Cave Adventure (1975), It is Pitch Black renders a mysterious, non-visual environment in the form of a text-based videogame. Although Danielewski’s novel participates in the lusory logic of digital games, functions as a paradigmatic post-digital text, and includes a diverse range of media, the book contains no mention of videogames within its pages. It is Pitch Black imagines a missing appendix or additional chapter (like the four pages of hexadecimal code only included in the original hardcover publication) which takes the form of a text-based adventure game that the Navidson children may have played throughout their ordeal. Inspired by Crowther’s inaugural adventure game yet operating according to the idiom of a 3D navigable space, It is Pitch Black foregrounds the tension between the human experience of play and the microtemporal processes of a computer.

   Daniela Ørvik - 19.02.2015 - 15:11

8. Fourteen recipes for a sonnet

   This paper discusses a semester-long classroom project in which senior seminar students were required to take Shakespeare’s Sonnet 14 and convert it into various media objects and texts. The assignments made use of Ian Bogost’s “procedural rhetoric” (“a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation”), assigning tasks based on the core concepts of “encoding” and “algorithm.” Some objects were electronic (music, twitter feeds) while the majority were physical objects, but they all made use of a procedural rhetoric sketched out by the original shape of the sonnet itself and the long tradition of scanning poems. In doing so, the objects produced force us to ask: where, exactly, do we “hold the light”? Is it e-lit if there’s no “e”?

   (Source: Author's Abstract)

   Sumeya Hassan - 26.02.2015 - 21:01

9. Do You Feel Like A Hero Yet? Externalised Morality in Video Games

   Video games have a long tradition of including elements of moral decision making within their ludic and narrative structures. While the success of these endeavours has been mixed, the systems used to express moral choices within a game have grown more popular. However, these morality systems are inherently restricted and limited by ludic and business considerations. Coupled to this is the concept of the “magic circle” in which games are considered to be morally discontinuous spaces where the normal rules of what actions are and are not permitted are different. Moral choices then become flattened down into mere narrative flavouring rather than a reflection of an individual’s ethical makeup. Moral choices within games are thus shallow and lack the ability to truly offer us an opportunity to reflect on the actions we have taken. Rather than offering insight, they instead cheapen and simplify nuanced topics and concepts.

   Eivind Farestveit - 12.03.2015 - 15:05

10. Archiving Ephemera – The Case of Netprov; Graphic Design in Re-Presenting Electronic Literature

    How will electronic literature look 100 years from now? This question is two-fold: 1) How will literary projects of 2014 that are written/performed in social media and short-lived web platforms greet the eyes of future readers? 2) what will theelectronic literature in current use by the people of the future look like to them?
    In this talk I will focus on consideration of the first question and speculate briefly on some clues about the second.
    “You should make it look as much like Twitter as possible!” I have already heard this admonition several times in the course of beginning to create archives for some 2013 netprov projects — Center for Twitzease Control, Tournament of la Poéstry, SpeidiShow. As a graphic designer something makes me uneasy about this. Why? Because Twitter’s graphic designers are . . . how to say this diplomatically? . . . doing their best under a lot of pressure. From a historicalgraphic design point of view, the look of those hugely popular digital applications is adequate, but definitely not optimum, not nearly as aesthetically or functionally strong as it could be.
    

    Elias Mikkelsen - 12.03.2015 - 15:07

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