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1. Textuality and Graphic Novels: Identity, Influence and Adaptation in V for Vendetta and Beyond

   This paper presents a multimedia/hypertext/PowerPoint presentation that focuses on the graphic novel V for Vendetta by Alan Moore and David Lloyd and the 2006 adapted film version of V for Vendetta, directed by Andy and Larry Wachowski. This presentation addresses the history of graphic novels and looks at recent trends in the medium, compares two scenes from the graphic novel with the film, and weaves in theoretical concepts such as the relationships between text and image, the use of simulation and semiotic analysis. Other issues discussed include the use of theatrics, masks and constructed identity in both texts. Finally, the presentation concludes with a look at the future of graphic novels and a call to further academic studies of this emerging textual medium and its growing life in virtual online forms.

   (Source: Author's abstract, 2008 ELO Conference site)

   Scott Rettberg - 09.01.2013 - 10:12

2. The Medium Is the Metaphor

   For one of my courses this fall, my first semester in the new Media, Art, and Text program at Virginia Commonwealth University, I created a short Flash piece on medium and a hypertext project on medium as metaphor, looking at eight texts—four print authors and four new media works. This presentation focuses on these projects.

   Scott Rettberg - 09.01.2013 - 10:20

3. Words and pictures ex machina? Hypertext and ekphrasis

   Following the concept of "remediation" and the premise that "all of our examples of hypermediacy are characterized by this kind of borrowing, as is also ancient and modern ekphrasis" (Bolter and Grusin, 1999: 44-45), I would like to take under consideration a literary work of Portuguese poet Vasco Graça MouraGiraldomachias / Em demanda de Moura (co-author Gérard Castello-Lopes; 2000). 

   Scott Rettberg - 09.01.2013 - 10:28

4. Artists, Personas, Mediums, Instruments: Envisioning the Visionary

   In his artist essay "Steps Into Performance (And Out)," Vito Acconci writes: "...if I specialize in a medium, then I would be fixing a ground for myself, a ground I would have to be digging myself out of, constantly, as one medium was substituted for another - so, then instead of turning toward 'ground' I would shift my attention and turn to 'instrument,' I would focus on myself as the instrument that acted on whatever ground was available." 

   Is it true that the artist is the visionary medium or instrument best positioned to transform the cultural landscape and that the tools we use, the theories that justify it all, and the outcomes that all too often play into the preconceived agendas and methods of the academic research community as well as the corporate R&D divisions should have very little to do with the way an artist or collaborative network of artists bring their creative compositions into society? 

   Scott Rettberg - 09.01.2013 - 10:43

5. Art at the Interstice

   In the *Location of Culture*, Bhabha uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. A major site of ambivalence in the realm of digital art and literature lies in the fact that so much of this work exists outside of the economy of exchange and commodified culture. Where lies the future in an art that generates no income for its creators? In a user-generated culture, arts exist at a social interstice (in Nicolas Bourriaud's terms) that might provide a model to evade the pitfalls of consumer culture, commodified objects and monetary exchange. How might the social nature of these works and open source approaches create a space for a new literary/artistic model?

   (Source: Author's abstract, 2008 ELO Conference)

   Scott Rettberg - 09.01.2013 - 11:47

6. Programming Literary Flow

   "Flow" is the movement of eyes and bodies through museums or city traffic, through instructional diagrams or branching narratives, through hypertexts or games. What is flow in electronic literature? While comics scholars have theorized linear flow (e.g. closure, trails) and hypertext scholars have theorized multilinear flow (e.g. transclusions, links), this exploration of flow in elit considers flow as a total experience or simultaneous visible landscape, beginning in the visual design tradition of flowchart art. Bill Barker or Martijn Englebregt's beaurocratic infographics, Jason Shiga or Chris Ware's narrative diagrams, and Simon Patterson or Dorian Lynskey's subway map art remixes all posit narrative as an experience occuring within a visible landscape of controlled traversals. In digital arts, this situated experience is best exemplified by performers using flow-control programming. How might the metaphors and software tools of flow-control used by audio livecoders and video jockey mashup artists (e.g. PD, Max/MSP, Quartz Composer) serve electronic textualists (e.g. Yahoo! Pipes)?

   Scott Rettberg - 09.01.2013 - 11:51

7. Mapping out Spaces for E-Lit Criticism

   This paper explores the process of discovering works of elit by focusing on the role of the online literary journal. The heyday of Web 1.0, the late 1990s, gave birth to the first generation of electronic literature. To support this emergent art form, this period also delivered a multitude of online literary journals that showcased hypertexts, kinetic poetry, animations, and interactive fiction as well as scholarly articles, interviews with authors, book reviews, and critical discourse. But as the Web became a more graphic-friendly navigation space and debates about cybertext vs. hypertext took centerstage in critical forums, celebration of electronic literature in web-zines and journals seemed to dry up. In the first few years of the twenty-first century, most of the literary journals that had flourished in the late '90s had ceased operations. What are the spaces for electronic literature and its discovery in the 21st century? How do these spaces or lack of them map and remap the field of electronic literature and its criticism?

   Scott Rettberg - 09.01.2013 - 11:56

8. Extended Narratives in Egypt: The Book of Going Forth by Day

   Extended narratives in electronic literature often take place in a "setting" or series of landscapes that might be real or imaginary. In my work, I have often chosen a template from a "real" landscape (California, Egypt) as not only a narrative story feature but also as a part of the navigation system. In *Egypt: The Book of Going Forth by Day* the reader is encouraged to become familiar with a "screen" landscape that is schematic map, navigation tool and "register" for multiple points of view. In order to "map" these fields, the early reader is introduced to areas of the screen which recall the conventional organization of ancient tomb paintings and manuscripts and also correspond to land, river, and sky. Each of these areas is also linked to aspects of the narrative voice. Thus, the imaginary landscape is mapped in the storyline, the screen organization, and the navigation.

   Scott Rettberg - 09.01.2013 - 12:00

9. New Forms of Subjectivity? Writing and Corporeality in Australian New Media Art

   Taking the work some Australian new media artists as case studies, we explore the contemporary penetration of writing into visual media and visual media into writing. (The work of Chris Caines, Ross Gibson, Norrie Neumark and Maria Miranda, Joyce Hinterding and David Haines, Peter Charuk, Leon Czmielewski, Ben Denham and Sarah Waterson are all possible sites of focus).

   (Source: Authors' abstract, 2008 ELO Conference site)

   Scott Rettberg - 09.01.2013 - 12:05

10. Multimedia Project of Isaac Rosenberg and William Blake

    The crux of my work two artist/poets, William Blake (1757-1827) and Isaac Rosenberg (1890-1919), is in how they expanded the definitions of the man/nature relationship through mythology and spiritual exploration. In addition to audio recordings of readings of the poets' poetry that accompanies their artwork and selected words for emphasis, which I composed in a movie format, I created a podcast discussing my critical and analytical study of the influence of Blake's writing on the increasingly well-studied Modernist, Rosenberg. The exploration of Rosenberg is benefitted by a recent and first scholarly edition of Rosenberg's poems by Vivien Noakes in 2004. While Noakes' edition of his poetry is in itself important, little critical exploration into the influence of Blake on Rosenberg's poetry has occurred, although it is often mentioned in brief. Indeed, not much critical exploration into Rosenberg's poetry has occurred whatsoever. The natural elements of Blake's and Rosenberg's poetry and especially the difference in the ways they presented nature compared to their contemporaries, will stand foremost in this study.

    Scott Rettberg - 09.01.2013 - 13:23

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