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1. CELL ROUNDTABLE - The Consortium for Electronic Literature

   For the ELO 2015 conference, we propose a roundtable discussion about the CELL Project. The Consortium for Electronic Literature (CELL) is a partnership founded by the Electronic Literature Organization that joins together nine research centers worldwide, all developing online database projects devoted to research in electronic literature (e-lit). The project is currently funded by the National Endowment for the Humanities, enabling development of an online index, search engine, and other tools for researching bibliographical and critical material on e-lit. (source: ELO 2015 conference catalog)

   Hannah Ackermans - 31.10.2015 - 11:19

2. What Comes After Electronic Literature?

   Five minute lightning talks addressing the question: What comes after electronic literature?

   Steven Wingate: eLit and the Borg: the challenges of mainstreaming and commercialization
   Leonardo Flores: Time Capsules for True Digital Natives
   Maya Zalbidea, Xiana Sotelo and Augustine Abila: The Feminist Ends of Electronic Literature
   Mark Sample: Bad Data for a Broken World
   José Molina: Translating E-poetry: Still Avant-Garde
   Daria Petrova and Natalia Fedorova: 101 mediapoetry lab
   Judd Morrissey: Turesias (Odds of Ends)
   Jose Aburto: Post Digital Interactive Poetry: The End of Electronic Interfaces
   Andrew Klobucar: Measure for Measure: Moving from Narratives to Timelines in Social Media Networking
   David Clark: The End of Endings
   Damon Baker: "HAPPINESS FOR EVERYBODY, FREE, AND NO ONE WILL GO AWAY UNSATISFIED!": New Developments in the CaveWriting Hypertext Editing System

   (source: ELO 2015 conference catalog)

   Hannah Ackermans - 31.10.2015 - 11:31

3. Touch and Decay: Tomasula's TOC on iOS

   TOC's promotional tease – “You’ve never experienced a novel like this” – became awkwardly literalized when, after a Mac OS update, I could no longer open the novel. The tease inadvertently highlights the obsolescence that locks away so many works of electronic literature from present day readers. Even an exceptional work like TOC – exhibited internationally, prize-winning, the subject of many scholarly articles, underwritten by a university press – is no less subject to the cycles of novelty and obsolescence that render many works of electronic literature only slightly more enduring than a hummingbird. “The accelerating pace of technological change,” N. Katherine Hayles observes, “may indicate that traditional criteria of literary excellence are very much tied to the print medium as a mature technology that produces objects with a large degree of concretization”.

   Hannah Ackermans - 10.11.2015 - 09:57

4. "Learn to taste the tea on both sides": AR, Digital Ekphrasis, and a Future for Electronic Literature

   This presentation will link the trope of “digital ekphrasis” (as articulated by Cecilia Lindhé) and the developing of platforms for “augmented reality” to argue that one probable future for electronic literature lies in the interweaving of “born digital” and print texts in ubiquitous layers of mediation. It will examine three instances of “augmented” print – the multimodal performance of ekphrastic poetry, the AR comic book Modern Polaxis, and the AR epistolary romance Between Page and Screen – all of which demonstrate the power of “intermediation” (Hayles) and foster a critical perspective on it. Looking at these amalgamations of print and digital textuality through the lens of digital ekphrasis reveals that electronic literature will most likely always arouse ambivalence, just as the trope of ekphrasis in traditional media has, for better or worse, provoked a sense of the uncanny through its interweaving of visual, auditory, tactile, verbal, or haptic experiences.

   Hannah Ackermans - 11.11.2015 - 16:12

5. Jokes, Prompts and Models: Engaging Player Collaboration in Netprov

   How can we best invite everyday writers to collaborate and play in electronic literature projects? For the past few years I have being doing projects in a format I call netprov. Netprov (networked improv narrative) organizes the creation of collaborative stories in real time using multiple available digital media. Working with Mark C. Marino and others we have developed a set of working guidelines and suggestions about how to best engage players’ imaginations and extend invitations that will encourage their creativity. I will discuss our methods, our “Rules of the Game” for several netprovs, and describe the degrees of player participation, from Featured Players who adopt ongoing characters to Casual Players who may only contribute a line or an image.

   (Source: ELO 2015 Conference Catalog)

   Hannah Ackermans - 11.11.2015 - 16:35

6. A Workbench for Analyzing Electronic Literature

   Scholars of electronic literature explore complex multimodal works. However, when they go to report their research, they face the confines of print-style documents that force them to reduce their discussion materials to written descriptions and select still images. ACLS Workbench is a new online tool developed for the analysis of electronic literature and other digital objects. Funded by the American Council of Learned Societies, the tool was created by Jeremy Douglass, Jessica Pressman, and Mark Marino in collaboration with Lucas Miller, Craig Dietrich, and Erik Loyer, built upon the ANVC Scalar platform.

   Hannah Ackermans - 11.11.2015 - 16:39

7. Can We Define Electronic Literature Such as Authoring Tool Literature?

   In this presentation, we will see how the authoring tool impacts on the thinking of electronic literature. If we consider that electronic literature cannot exist without digital tools, and digital writing requires tool, software and technologies, we can easily imagine how huge the role of the authoring tool is for the authors and how their imaginary can be challenged. Tools propose and impose choices and directions that ask the creative act in electronic literature.

   Then, in our research, we define the concept of the “rhetoric for creative authoring” that will be focusing on power relations between the authoring tool and the author. And what does it mean in electronic literature to use such a tool? Is electronic literature producing works depending on the software the author uses? It means that the software tool, as the edge of the electronic work itself, could be considered as part of the electronic work. In other hands, this approach could help to define electronic literature.

   Hannah Ackermans - 14.11.2015 - 15:00

8. Electronic Literature as Action and Event: Participatory Culture and “The Literary”

   ractices of public and performative electronic writing connect our arts movement to important sites of social transformation, beginning with the resistance to neoliberalism in government and academia, and potentially touching larger questions about relations of mass and elite culture.

   This panel comprises three papers, two by creator/conveners of participatory projects, the third by an interested theorist. The creators offer reflections on the meaning of participatory engagement based on their own experiences with the form. The theory paper adds some more abstract reflections addressing questions of general concern to electronic literature as a cultural movement.
   Electronic Literature and the Public Literary
   Stuart Moulthrop (University of Wisconsin-Milwaukee)

   Hannah Ackermans - 14.11.2015 - 15:16

9. Aurature and the End(s) of Electronic Literature

   The question of electronic literature – its definition, existence, significance, relationship with literature (plain and simple) – has always been bound up with questions of media and medium. New media. Electronic media. Media qualified by digital, computational, networked, programmable and so on. And all of these terms hypostasize practices while encapsulating and concealing an even more fundamental problem concerning their medium in the sense of artistic medium. Historically, as of this present, an electronic literature exists. It exists significantly, as corpus and practice, and as an institutionally supported cultural formation. It has established a relationship to literature as such, and this is also, to an extent, institutionally recognized. However, questions and confusions concerning media – signaled understandably but inappropriately by the absurd, skewmorphic misdirection of “electronic” – remain encapsulated in “literature” itself. The medium of literature is not letters or even writing. The medium of literature is language.

   Hannah Ackermans - 14.11.2015 - 15:50

10. The Many Ends of Network Fictions: Gamebooks, Hypertexts, Visual Novels, Games and Beyond

    This paper presents a digital humanities structural approach to branching stories across several media forms and genres over the past six decades – with special attention to patterns of endings in different narrative networks, as well as meta-patterns that mark the beginnings and endings of genres of branching literature.

    Hannah Ackermans - 14.11.2015 - 15:58

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