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1. Replicant

   Inspired by the “They Might Be Giants” song of the same name, Replicant is a psychological sci-fi thriller which uses the interactive fiction medium to explore memory, humanity, and identity, and asks, what really makes us the people we are? Our physical bodies? Our life experience? The truths we tell others? A person wakes up in a mysterious lab with no memories of their previous life and nothing to go on but their own name. This work was created for the Nanobots album, a collection of Twine games based on They Might Be Giants songs, which can be found at http://nanobots.shark.moe/. Content warning for gore

   Jane Lausten - 26.09.2018 - 15:17

2. Electronic Literature as an approaching tool to emerging ways of reading

   What is reading? As a transitive verb, and in the strict action, it is to pass the view by the signs that we recognize from our mother tongue, written in a text to understand them and turn them into sounds. The act of reading goes beyond the interpretation of an inherited code. Reading is a cognitive visual/motor activity and meaningful of reality. 

   When we read a text, our thinking manages a bunch of received information that little by little it is organizing according to its maturity, experience, cognitive processes, intuition and conceptualization. The order in which it happens does not matter. What is important is the fact that when it is read, the construction and appropriation of both historical and a-historical concepts is happening. But, what happens when we read Electronic Literature? 

   Technology, following the proposal of Marshall McLujan, is an extension of our own body. For that matter, clothing is an extension of our skin. The shoes are an extension of our feet. 

   June Hovdenakk - 03.10.2018 - 15:21

3. The Digital Ecology of Canadian Experimental Writing

   In the conclusion of *Literary History of Canada: Canadian Literature in English* (1965), Northrop Frye asserts that there “is no Canadian writer of whom we can say what we can say of the world’s major writers, that their readers can grow up inside their work without ever being aware of a circumference” (821). This paper will partly push against this tendency in Canadian literary criticism and will consider a select instance of Canadian electronic literature. In Frye’s terms, “Canadian sensibility” is “profoundly disturbed” not only by “our famous problem of identity,” which can be, in part, summarized by the question of “[w]ho am I?,” but by the question of “[w]here is here?” (826). I claim that *here* in the question of “where is here?” has become digital; i.e., “we” (as in Canadian writers and critics) are now online and not in the prairies or the lakes or the cityscapes and we live lives in which our identities (along with the potentiality of a national identity) have been outsourced to an indefinite electronic space.

   Miriam Takvam - 03.10.2018 - 15:23