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1. Slow Games, Slow Poems: The Act of Deliberation in "Slow Year"

   “Video games are actions,” declared Alexander Galloway in a manifesto that stakes out the
   essential differences between videogames and other forms of expressive culture, such as
   literature, photography, and cinema. But what about videogames in which action looks like
   inaction? What about videogames in which action means sitting still? What about a videogame
   that purports to be less a game and more a meditation—a work of literature? In this paper
   I explore a prominent yet remarkably understudied example of a slow game—a game that
   questions what counts as “action” in videogames. This game is A Slow Year (2010), designed
   for the classic Atari 2600 console by Ian Bogost. Comprised of four separate movements
   matching the four seasons, A Slow Year challenges the dominant mode of action in videogames,
   encouraging what I call “acts of deliberation.” These acts of deliberation transform the core
   mechanic of games from “action” (as Galloway would put it) into “experience”—and not just
   any experience, but the kind of experience that Walter Benjamin identifies as Erfahrung, an
   

   Eric Dean Rasmussen - 21.06.2012 - 12:55

2. We have never had a mind of our own: A Poetics of the Integrated Circuit

   The black-and-gray background of the splash page for the performance artist Stelarc’s website appears to be an abstraction of memory blocks, logic boards, and input/output pads. Into it is plugged a block of small white introductory text, a blip of red text listing devices necessary to access the site, and a sketch showing a body wired with EEGs to catch the brainwaves, ECGs to trace the heartbeat, EMG’s to monitor the flexor muscles, and an array of contact microphones, position sensors, and kineto-angle transducers to chart everything else. In this integrated circuit, voltage-in probes the body; voltage-out extends it. In case the point is not yet clear, two neon-bright chunks of text in the middle of the page blink on and off to announce it: “THE BODY IS,” the first lines read all in a rush, then slowly, spelling it out, “O-B-S-O-L-E-T-E.” In this paper, I would like to argue that the transformation from an organic, industrial society to the polymorphous information system Stelac enacts allows us to think back to machine-human collaborations overlooked in expressivist approaches to poetry.

   Audun Andreassen - 03.04.2013 - 16:02

3. In[ter]venting Multi-Modal Rhetoric(s)/(a) Poetics of Emergence

   This presentation looks at electronic literary practices and the modes and methods of meaning-making there in. Using his own creative work as an example, Memmott discusses how the poetic formation and rhetorical outcomes of the work are integral to the ‘text’ of the work, and integrated into what could be called an environmental grammatology. From programming to visual design, the word to the image, user interaction to instrumentality -- we have moved from “Work to Text” to Work...

   Talan Memmott - 04.07.2013 - 16:22

4. Reading the Drones: Working Towards a Critical Tradition of Interactive Poetry Generation

   Computer-generated poetry is now almost sixty years old, stretching from the work of Christopher Strachey, Jackson Mac Low and Theo Lutz in the 1950s to the wealth of interactive poetry generators freely available online today. According to Antonio Roque, this history comprises four distinct (but overlapping) ‘traditions’: the Poetic; the Oulipo; the Programming; and the Research. But despite the inherent ‘literariness’ of the enterprise, one tradition is conspicuous by its absence: the ‘Critical’. It is the object of this paper to rectify this omission, proposing a mode of critical engagement that might allow interactive poetry generators to be naturalised as objects of textual study according to the protocols of literary criticism. It seeks to achieve this by means of a comparative analysis between what might be construed as the first interactive poetry generator – Tristan Tzara’s ‘How to Make a Dadaist Poem’ – and one of the most recent (and most powerful) – Chris Westbury’s JanusNode.

   Kriss-Andre Jacobsen - 04.10.2013 - 11:14

5. Learning Management Platforms: Notes on Teaching “Taroko Gorge” in a Pandemic

   As an adjunct instructor during the pandemic, I am in a rather unique position to speak to the use of the Learning Management System (LMS) as a pedagogical platform (I currently teach at three different post-secondary institutions and use three different LMSs). This pandemic has clearly laid bare several of the difficulties of precarious labour in the academy, and the need to fluently navigate several disparate platforms is just one. But, I would like to use this unique position to begin to speak to the role of pedagogies of digital literature to help students develop critical digital literacies, and how the proprietary LMS might influence or impede that process.

   Milosz Waskiewicz - 25.05.2021 - 14:46