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1. Electronic Literature Collection, Volume Three

   In the golden age of electronic books (or e-books), the phones, pads, tablets, and screens with which we read have become ubiquitous. In hand around the house or emerging from pockets on trains and planes, propped up on tables at restaurants or on desks alongside work computers, electronic books always seem to be within arms reach in public and private spaces alike. As their name suggests, however, the most prevalent e-books often attempt to remediate the print codex. Rather than explore the affordances and constraints of computational processes, multimodal interfaces, network access, global positioning, or augmented reality, electronic books instead attempt to simulate longstanding assumptions about reading and writing. Nevertheless, the form and content of literature are continually expanding through those experimental practices digital-born writing and electronic literature. Electronic literature (or e-lit) occurs at the intersection between technology and textuality.

   Alvaro Seica - 19.02.2016 - 00:33

2. WYSIWYG and WYSIWII: the Materiality of Digital Literature.

   In this paper, I depart from the notion of digital literature trying to look beyond the linguistic layer of digitability as proposed by Simanovski (2010). Thus, the main goal of my discussion is to face some specific problems regarding both theoretical and instructional perceptions of digital literature: the creative process, the technological conditions and software limits in the production of a media art object, and the literary materialities digitally present. To demonstrate how these constructs and circumstances affect the production and the reception of an object perceived as literary and digital from its planning, I will propose a challenging reading of O Cosmonauta by Alckmar dos Santos and Wilton Azevedo.

   (Source: Author's Abstract, ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 15:16

3. The Endgame or a Wake?: Tropes of Circularity in Literature Then and Now

   This paper argues that attending to the tropes of circularity featuring in print-based literature proves to be a useful foil for an analysis of electronic literature. Based on the idea that digital literary mechanisms do not obliviate previous circularity-inducing structuring motifs in analog literature, such as labyrinths, chess, rivers, and clockwork, this argument arrives at a crucial time for literature, which is currently the object of intensified debates on beginnings and ends, especially in the context of digitality and multisensory perception becoming central to some aspects of its processes. Accordingly, circular motion is here analysed in its depiction and actuation across several kinds of literary / literal machines, in reflection also on how sensory perception both mediate and is mediated. If literature is conditional upon a series of unique, though interconnected, mechanisms, it seems reasonable not to discard a certain circularity of the senses that is brought into play there and, indeed, given both thematic and formal substance in analog and digital works.

   Diogo Marques - 26.07.2017 - 13:51

4. Grasp All, Lose All: Loss of Grasp and Non-Functional Digital Interfaces in Electronic Literature

   “And one should understand tact, not in the common sense of the tactile, but in the sense of knowing how to touch without touching, without touching too much, where touching is already too much.” Jacques Derrida

   A “hasty conclusion”, perhaps, as stated by Derrida, yet, one that was (and still is) able to cause an intense discussion among philosophers. In his questioning of touch, Derrida draws on Jean Luc Nancy’s philosophy of touch, particularly on the latter’s paradox of intangible tangibility, as a way to explore a slightly different meaning of the verb haptein (to be able to touch, to grab, to attach, to fasten), but also meaning “to hold back, to stop” (Nancy [2003]: 2008, 15).

   Diogo Marques - 26.07.2017 - 15:56

5. Textual entanglements: a performative approach towards digital literature

   This thesis conducts a critical investigation into digital literature—a genre of literary expression that is integrated with, and articulated using, digital computing systems and infrastructures. Specifically, it presents a framework for evaluating the expressive capacities of this genre as it relates to particular conceptions of knowledge-making in the contemporary technocultural environment. This framework reveals how the generation of critical knowledge concerning digital literature, as crystallised through a reader’s material engagements with specific works, enacts a ‘performative’ conception of knowing and being, in which the observable world is treated as emerging in the real time of practice—as being articulated through the entanglement of human and nonhuman agencies, rather than existing as a fixed array of passive, unchanging primitives. Digital literature is presented subsequently as a model of this greater performative vision—as a means of evaluating the structures and processes that manifest it, particularly within digital systems, and for assessing its practical and political implications for art and culture more broadly.

   Håkon Dale Askeland - 17.09.2020 - 20:40