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1. Toward a Mobile and Geolocative E-Lit Aesthetic: Curatorial Statement for MLA 2012 Exhibit “Electronic Literature”

   Toward a Mobile and Geolocative E-Lit Aesthetic: Curatorial Statement for MLA 2012 Exhibit “Electronic Literature”

   Eric Dean Rasmussen - 18.01.2012 - 14:54

2. Remediating the Social (E-Book)

   This is the conference proceedings for Remediating the Social, the final conference of the ELMCIP project, held at the Edinburgh College of Art on November 1-3, 2012. Download the PDF from the links at the bottom of this entry.

   Elisabeth Nesheim - 10.08.2012 - 13:25

3. Bootstrapping Electronic Literature: An Introduction to the ELMCIP Project

   Developing a Network-Based Creative Community: Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a three-year (June 2010-June 2013) collaborative research project funded by HERA, the Humanities in the European Research Area framework, sponsored by EU FP7 and the national research councils of the countries participating in the framework. The project has involved researchers from seven institutions in six European nations, who together have produced seven events including seminars, workshops and the Remediating the Social conference and exhibition, documented by this volume, Remediating the Social.

   Elisabeth Nesheim - 27.08.2012 - 12:11

4. Rhizomes, Lines and Nomads: Doing Fieldwork with Creative Networked Communities

   This paper presents the ethnographic study, part of the HERA-funded project “Electronic Literature as a Model of Creativity and Innovation in Practice” (ELMCIP), which asks how creative communities form within transnational and transcultural contexts and a globalised and distributed communications environment. 

   Elisabeth Nesheim - 27.08.2012 - 13:13

5. Embodied Algorithms: On Space and Mobility as Structural Metaphors

   This short paper proposes the concept of "embodied algorithms" to describe the use of models borrowed or derived from other disciplines as structural metaphors in works of art. The models may originate in fields as diverse as phenomenology, linguistics, or computer science, and while they may not themselves be computational or procedural, their cross-disciplinary/cross-modal implementation imbues them with a symbolic dimension that suggests a hermeneutical methodology (hence, “algorithm”) for constructing interpretive narratives. The paper examines the constitutive role played by space and mobility in interpreting a series of the author’s own artworks. For the sake of brevity, it focuses primarily on a single interpretive model derived from the writing of phenomenologist Georg Gadamer, and relates it to a number of digital models, or algorithms, employed in the works.

   Elisabeth Nesheim - 27.08.2012 - 13:42

6. DIWO: Do It With Others – No Ecology without Social Ecology

   In an age of post-industrial revolution, the acceleration of technological development has had a direct impact on our everyday lives, in which our behaviours and relationships are modified via our interactions with digital technology. As artists, we have adapted to the complexities of contemporary information communication technologies, initiating different forms of creative, network production. Another set of societal factors has also become equally significant as concerns about climate change and the economic crisis pose questions about how we adapt, as people and as artists. As imaginative practitioners exploring the possibilities of creative agency that these networks and social media offer, we need to ask ourselves about our role in the larger conversation. What part do we play in the evolving techno-consumerist landscape which is shown to play on our desire for intimacy and community while actually isolating us from each other.

   Elisabeth Nesheim - 27.08.2012 - 13:50

7. Re-reading the Digital: An Inquiry Through Practice

   Digital reading is not the same as reading a book, for several reasons. The main focus of this short piece brings together two of them: varying and implicit but usually hidden technological relationship/s; and a new and more complex construction of the reading Subject/ivity.

   Elisabeth Nesheim - 27.08.2012 - 15:14

8. Authorial Scholarship 2.0: Tracing the Creative Process in Online Communities

   The age of letter writing is coming to an end, just as an era of e-mail, blogs, online groups, and social networks is emerging as a new mode of communication. The work of scholars interested in what writers have to say about their work has simultaneously become easier and more challenging, depending upon the technologies used by these writers. How do we conduct authorial scholarship in an age of digital media? This paper address this question through a case study: Flores' own research on Jim Andrews and his work, focusing on the challenges and affordances offered by the current media ecology.

   Elisabeth Nesheim - 27.08.2012 - 15:18

9. Evaluating Digital Literature: Social Networks, Selection Processes and Criteria

   The first experiments in digital literary forms started as early as the 1960s. From then, up to the mid-90's, was a period that, according to Chris Funkhouser (2007), can be considered as a “laboratory” phase. The rise of the Internet has resulted in the proliferation of creative proposals. The first involves indexing creative works in the form of databases, sometimes giving access to hundreds of works without any hierarchical order. Since 2000, digital literature has been experiencing a new phase, marked by the creation of anthologies. Over the years, the evaluation and selection criteria have proved to be as problematic as they are necessary for these projects. The main issue of this paper is to provide a critical discussion of these criteria.

   Elisabeth Nesheim - 27.08.2012 - 15:44

10. Thinking in Networks: Western/non-Western Interaction

    This paper discusses artists' practices that in aesthetical-technical ways intervene into computer networked environments. The author is interested in Japanese media artists who, in interactive installations, rethink the use of technology that we encounter in the industrially-culturally compressed spaces of the metropoles, like Tokyo. These technologically saturated spaces have created super-density as a new cultural form of the present. The focus of the discussion is on artists' interventions in networks that in different ways make us aware of the possibilities for approaching and reflecting upon our behaviour in such media-cultural and ubiquitous mediascapes.

    Elisabeth Nesheim - 27.08.2012 - 15:51

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