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1. Locating the Literary in New Media

   Locating the Literary in New Media

   Eric Dean Rasmussen - 27.06.2011 - 09:14

2. Narrative (Pre)Occupations: Self-Surveillance, Participation, and Public Space

   Under consumer culture, self-surveillance—the act of submitting your own data to corporate interests like Amazon, TiVo or Facebook—becomes a revolutionary gesture of participation (Andrejevic 15)…or so corporate interests would have us believe. With the advent of social media, we now log our own data in the service of multinationals as we
   seemingly embrace the arrival of a technological Big Brother. Several digital media artists, however, have turned the tables or, more exactly, the camera on themselves by using digital media and self-surveillance as a means of creating new digital narratives.

   Eric Dean Rasmussen - 19.06.2012 - 14:21

3. Literature: Lift this End

   The Internet epistemologist Richard Rodgers describes the latest evolution of digital culture as “the end of the virtual,” a moment at which attention can no longer be confined primarily to integration, encapsulation, or remediation, but must turn instead to natively computational questions and methods. The meaning of this periodic shift is clear enough for the social and information sciences, but less so for the humanities: especially for literature, a field recently split into core and periphery, a home ground of literature-proper set against a hazier outline or outland that has come to be called “the literary.”

   This talk begins by subverting the all-too-familiar topos of end-times or elegiac criticism (the end
   of some world as we know it), by insisting that end may as easily refer to contour or wrapping as
   termination or extinction. That is, an end may also be an edge, a line along which a structure becomes ready-to-hand, or available for manipulation. An end in this sense is an affordance for engagement: commonly, for lifting and carrying.

   Eric Dean Rasmussen - 22.06.2012 - 16:34

4. Bitwise: The Logic of the Digital

   This paper explores the ontology of the digital. Specifically I argue that digital technologies, digital aesthetics, and digital culture express characteristics of the binary code. The binary code, which defines the digital, balances between ideal and real; tied always to some material substrate, the binary code nevertheless operates according to a logic of perfectly specified 0s and 1s. And it tends to bring this idealized perfection into the real, dividing up the world into neat, discrete categories, offering predefined choices with predictable outcomes, and shaping not only the materials of the machine but also the bodies and habits of users according to this binary logic. The binary code is an apotheosis of abstraction, but it is an operative abstraction, which becomes effective even while retaining its pure formality. Brief examples will elaborate this overarching argument, considering the digital’s ontological relationships to temporality, space, material, virtuality, uniqueness, identity, determinism, and language.

   (Source: Author's abstract for ELO_AI).

   Audun Andreassen - 03.04.2013 - 09:45

5. What I See and What You Read: A Narrative of Interdisciplinary Research on a Common Digital Object

   This paper presents the dual narrative of a shared research combining approaches from LIS and literature studies. Content and textual analyses of the digital novel The Unknown help identify areas of common interest, such as genesis and access. Interdisciplinary issues, such as methodology and reporting styles, are also addressed.

   Source: Authors Abstract

   Patricia Tomaszek - 05.11.2013 - 14:08

6. Labs for the Digital Humanities

   A presentation by Piotr Marecki of UBU lab at Jagellionian University, and a discussion of different lab models for e-lit and digital culture.

   Scott Rettberg - 01.05.2018 - 23:38

7. Introduction (What (in the World) Was Postmodernism)

   Introduction (What (in the World) Was Postmodernism)

   Yvanne Michéle Louise Kerignard - 17.09.2019 - 14:41

8. Sound and queer affirmative space in augmented reality

   Despite the burgeoning interest in the creation of imaginative spaces in AR and VR, very little focus has been given to sound. This paper borrows aspects of cinema studies and cultural geography to argue that sound can create a discursive environment and a queer space in Augmented Reality (AR). Referring to Michel Chion’s Audio-vision (1990), and Steven Shaviro’s Post-cinematic affect (2010), I explore how the assemblage of aural, visual and haptic in AR pieces, such as Caitlin Fisher’s ‘Chez moi’ (2014), create what Lev Manovich (2001) calls ‘hybrid spaces’, spaces visually disjointed but semantically connected. In ‘Chez moi’, Fisher invites the viewer to put on their headphones and watch the video on their smartphone while walking down Hayden street in Toronto, where the lesbian bar Chez moi was located when Fisher was a teenager. The audiovisual piece augment the physical reality of the viewer through a montage of various media forms, such as Fisher’s voice over, images of news reports, and fictitious audio and images.

   Vian Rasheed - 12.11.2019 - 03:21

9. Exploring Digital Culture: why Tool Matters

   The research community of electronic literature is exercising more and more influence in the field of digital culture and there is a growing body of research on the literary, computational, and cultural aspects of born-digital writing, but research into the specific impact of platforms on the production of digital writing has been very limited and often relegated to a peripheric rank. However, platforms play an essential role in shaping the genres and practices of electronic literature that needs to be investigated more deeply to develop better understanding of how our tools and machines shape digital culture. My talk has the objective to reflect the importance of the interface in literary production. At the border of technology and literature, where format and content matter, what is the status of the tool in the creation of works of electronic literature? I will recall the principle that electronic literature is subordinate to the tools it uses and will demonstrate how coding participates in the recognition in the field of digital humanities.

   Vian Rasheed - 18.11.2019 - 15:47