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1. Limbo and the Edge of the Literary

   Limbo, released in 2010, is a puzzle platformer that features a player character who awakes in Limbo, on the edge of hell. He must traverse a world of bear traps, giant killer spiders, and spinning gears. As with any game, the player of Limbo will necessarily fail while solving the game’s puzzles; however, this game makes those failures especially painful. The player character is decapitated, impaled, and dismembered as the player attempts to solve each puzzle. The game’s monochromatic artwork, its vague storyline, and these gruesome deaths meant that Limbo, predictably, found its way into various “games as art” conversations. However, this presentation asks whether Limbo can serve as a different kind of boundary object. Given its complete lack of text and its minimalist approach to storytelling, what is the status of Limbo as a literary object?

   Stig Andreassen - 25.09.2013 - 14:31

2. Curating and Creating Electronic Works in Arts Contexts

   This is an open session designed to build understanding of evolving contexts and conditions for making and presenting creative works by drawing upon the experiences of those involved both with making works for arts contexts and with curating exhibitions and other arts-venue contexts. The session will invite current and past ELO arts committee leaders, including ELO members involved in the ELO new Media Arts Committee, and gallery curators to help lead the open conversation. The open forum will share knowledge and develop new ideas about making and staging works for the public sphere. The open session may confront practical, theoretical, and perhaps even ideological and political issues, conditions and their cultural paradigms.

   (source: ELO 2015 conference catalog)

   Hannah Ackermans - 31.10.2015 - 11:10

3. Preserving, Curating and Visualizing Latin American Digital Literature and Art

   Digital literature and art are currently being produced right across the globe. However, some digital works are more visible than others, depending on where in the world they are being produced, who is producing them, and how they are being circulated. The works that this panel will address are from Latin America, a region that has usually occupied a peripheral place in terms of global geopolitics, and whose digital cultural production, and its theorization, has typically been less visible than that produced and analyzed in the Global North. Furthermore, some of the works featured in the panel are produced by marginalised communities even within a Latin American setting (eg. indigenous communities).

   Jorge Sáez Jiménez-Casquet - 14.11.2019 - 14:20