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1. A Topographical Approach to Re-Reading Books about Islands in Digital Literary Spaces

   This paper takes a topographical approach to re-reading print books in digital literary spaces through a discussion of a web-based work of digital literature “…and by islands I mean paragraphs” (Carpenter 2013). In this work, a reader is cast adrift in a sea of white space extending far beyond the bounds of the browser window, to the north, south, east and west. This sea is dotted with computer-generated paragraphs. These fluid texts call upon variable strings containing words and phrases collected from a vast literary corpus of books about islands. Individually, each of these textual islands represents a topic – from the Greek topos, meaning place. Collectively they constitute a topographical map of a sustained practice of reading and re-reading and writing and re-writing on the topic of islands. This paper will argue that, called as statement-events into digital processes, fragments of print texts are reconstituted as events occurring in a digital present which is also a break from the present. A new regime of signification emerges, in which authorship is distributed and text is ‘eventilized’ (Hayles).

   Alvaro Seica - 15.05.2015 - 13:59

2. Intimate Mechanics: One Model of Electronic Literature

   Intimate Mechanics: One Model of Electronic Literature

   Alvaro Seica - 10.06.2016 - 19:32

3. Code Before Content? Brogrammer Culture in Games and Electronic Literature

   Code Before Content? Brogrammer Culture in Games and Electronic Literature

   Alvaro Seica - 10.06.2016 - 20:02

4. Poetic Machines, Absent Authors and the Meaning of it All

   Poetic Machines, Absent Authors and the Meaning of it All

   Sidse Rubens le Fevre - 12.06.2016 - 20:18

5. Pop Subversion in Electronic Literature

   The “vernacular” comes from the Latin verna meaning “home-born slave.” In its common understanding, it refers to the native speech, and has long been associated with “populism.” Many assumptions about digital discourse in the United States are framed by the pragmatics pop forms, driving even political and intellectual discourse into what behavioral scientists call “system 1 cognition”: short-term, unreflective, reactive, and, ultimately, manipulable thinking. This paper, drawing on critical writing developed by Justin Katko and Sandy Baldwin, will discuss choice architecture and strategies of détournement in electronic literature. Against the heavy presence of tagging in social media spaces and graphic design in public spaces, this presentation will analyze Typomatic by Serge Bouchardon, et. al, as a form of digital writing that subverts the reductive tendencies of instrumental signification in favor of ambiguity and excess at the level of the word. Even as I draft this proposal, I find myself wanting to describe the it as a work, for it is a concept, an installation, executed by artists and given a title: Typomatic.

   Davin Heckman - 13.06.2016 - 00:57

6. Emergent Story Structures and Participatory Digital Narrative

   Emergent Story Structures and Participatory Digital Narrative

   dmeurer - 21.07.2016 - 22:46

7. 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

8. The media materiality as a “dance of agency” – Performing Literary Text with Substances

   Shelley Jackson’s Snow does not easily conform to established literary categories or interpretative strategies – words written on snow are evanescent and fragile, vanishing as soon as the surface on which they had been inscribed melts away. The text in progress is offered to the audience only as the documentation of the artist’s own acts of inscription, made available through the accounts on Flickr and Instagram dedicated to the project. Additionally, reading the story in a traditional way on Instagram is possible only in reverse order of the photostream. In my presentation I would like to broaden the notion of a literary text taking into consideration the very materiality of this project’s affordances – especially the specificity of the inscription surface, evoked to the audience with photos regularly uploaded to Instagram (which itself can be seen as a domain of fluidity with its constantly changing visual stream). What I am particularly interested in is the specific mode of meaning distribution – in this case performed between the evaporating substance, photographic documentation and networked media.

   (Source: Author's Abstract, ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 15:25

9. Eduardo: a Multimedia Story by a Swiss Army Knife Journalist

   One thing that cannot be denied is that whereas there have been countless online publications before the world wide web, it has been the late development of the web that transformed communication patterns and, particularly information textuality and the journalistic arena. Among profound and unceasing changes, one can stand out the online versions of traditional media outlets, but obviously the originally online stories, created to be experienced as multimedia journalistic pieces. It is within this field that Eduardo’s story belongs, in the piece “O que é isso de vida independente” [What is that of an independent life?] by the Portuguese multimedia journalist Vera Moutinho. In this paper, I will explore Eduardo’s story, which elects the visual and sound plasticity as drivers of the reading experience, to examine how significance is built across multiple media and unfolds undertones throughout each moment.

   (source: Author's Abstract at ICDMT 2016)

   Hannah Ackermans - 12.12.2016 - 14:29

10. Swipe to Turn the “Page”: Metafiction in the Story App The Monster at The End of This Book

    Some children story apps have incorporated a reflexivity typical of the metafictive picturebook but this reflexivity is altered in the digital medium by the possibility of interaction – as the reader is addressed by the story, there is in interactive texts the possibility of a response that affects the narrative. The construction of metafiction is also changed by the extended multimodality of these texts, that now incorporate movement and sound, for example, creating a different kind of immersion from that promoted by the image-writing dynamics of the print picturebook. In this paper, I will discuss the realization of metafiction through the participation of the reader in the app The Monster at the End of This Book (Stone & Smollin, 2011).

    (Source: Author's Abstract at ICDMT 2016)

    Hannah Ackermans - 12.12.2016 - 14:33

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