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1. Bridging Intertextuality and Intermediality from a Cultural and Literary Perspective

   In this paper we argue that technological applications, and the intermedial practices that the World Wide Web allow can play an important role in developing educational and cultural policies and practices, expanding the stock of shared heritage while maintaining cultural diversity, and multiplicity, despite problems such as accessibility, the digital divide and growing economic focus, copyright and open-access, the organization of vast amounts of information and its preservation as part of our cultural heritage. Our previous research has emphasized the potential of intermediality to serve as a model that not only increases our understanding of the mechanisms of media convergence but also applies to parallel phenomena in intercultural and educational contexts. We have proposed that the basis for a constructive conceptualisation of social change is mediated through technology and that the good use of intermediality as a vehicle for socio-cultural needs to be further explored, both theoretical and practically, in its aspects of production, distribution, and usability.

   Eric Dean Rasmussen - 27.01.2011 - 16:21

2. Senghor on the Rocks: A Georeferenced Electronic Novel

   author-submitted abstract: Senghor on the Rocks (SOTR) is the first novel that has been extensively illustrated with the help of online satellite imagery. SOTR was written in the form of a classical novel well before we developed the presented online format for publishing. Because of its linear narrative structure, the consistent first?person perspective of the text and the movement that happens throughout the text, it was very well suited for an adaption as an online "geo?novel" based upon Google Maps. The text of the novel was not changed for the online version, but every scene has been geographically referenced and the chapter structure has been adjusted for online reading habits.

   Eric Dean Rasmussen - 16.02.2011 - 14:50

3. On Moving and Being Moved

   Mark Hansen (2004) argues that the privilege of literature as a technology of communication lies not in its imitation of the flexibility of technical media, but rather in its relationship with the body. This is apparent in the processes by which we acquire alphabetic literacy (how we learn to read and write) and in the reproduction of writing through processes of inscription, dissemination and reception. Newer media technologies are tapping into this relation of intimacy with increasingly greater speed and accuracy (Kittler, Levy). The conversion of text into language calls not only on the cognitive capacities of writers and readers, nor simply on the sense of sight alone. Rather, it mobilises these capacities along with those of all the other sensory modalities, including affect. Language itself is a supramodal synaesthetic medium, as various theories of metaphor make clear. This view of language makes electronic forms a privileged site for understanding the relationship between language, the visual, and the sonic as they are channelled and processed by the senses and temporarily organised in a series of ‘central assemblies'. We take this latter term from the work of Silvan S.

   Scott Rettberg - 07.01.2013 - 22:57

4. Digital Modernism

   A prominent strategy in some works of contemporary electronic literature is the appropriation and adaptation of literary modernism, what I call "digital modernism." This paper examines digital modernism as a strategy relevant to rethinking not only the origins of electronic literature but the ways in which we discuss and understand the field of electronic literature in general. I examine Bob Brown's Readies machine (circa 1930), an avant-garde attempt to speed up text and thus transform literature and reading practices, in relation to works of electronic literature by Young-hae Chang Heavy Industries and William Poundstone. These contemporary works employ Flash to create a flashing aesthetic that resonates with Brown's goals for the Readies. Situating electronic literature within this forgotten but distinctly literary history of machine-based textual experimentation exposes the importance of reading today's new, new media literature in relation to the a movement from the early decades of the twentieth century which sought to "make it new" in the new media of its time.

   Scott Rettberg - 07.01.2013 - 23:29

5. Musical Time with Kinetic Type

   Musical Time with Kinetic Type

   Scott Rettberg - 08.01.2013 - 11:10

6. The Aesthetic of Dissonance within 6amhoover.com

   Within many of the projects on 6amhoover.com disorder and dissonance are fundamental features in the communication. How theses aspects function and their importance in terms the conceptual rationale and participant experience will be detailed and discussed in the presentation with reference to how such an approach sits within a broader aesthetic of dissonance and the context of interactive literary art.

   (Source: Author's abstract, 2008 ELO Conference site)

   Scott Rettberg - 08.01.2013 - 15:40

7. Practical Play: Research and Invention

   Practical Play: Research and Invention

   Scott Rettberg - 08.01.2013 - 23:18

8. Language as Gameplay: From the Oulipo to the Jew's Daughter

   Language as Gameplay: From the Oulipo to the Jew's Daughter

   Jill Walker Rettberg - 28.06.2013 - 10:24

9. Jouer / Déjouer : une relation critique pour le net-art

   Avec quelle insouciance Jacques Prévert contait sa collection d’objets du monde « Une pierre, deux maisons, trois ruines, quatre fossoyeurs, un jardin, des fleurs, un raton laveur », son « Inventaire ».

   Cette liste les faisait tenir dans sa main comme s’il fut naturel qu’ils soient déposés là, dans l’attente du rôle que la parole de Prévert auteur, devait leur faire jouer. Avec quel amusement teinté de crainte Michel Foucault, dans sa préface Des mots et des choses évoque le classement des objets du monde selon Jorge Luis Borges. « Les animaux se divisent en : a) appartenant à l’empereur, b) embaumés, c) apprivoisés, d) cochons de lait, e) sirènes, f) fabuleux »

   Comment donc – à notre tour - dire et décrire des types d’objets, de productions, de processus, et même d’environnements matriciels relationnels que sont devenus les dispositifs de net-art depuis leur apparition, ceci sans les trahir, les dédire ou les réduire ? Le net-art ou web-art est un art techno-sensible qui relève sans doute plus de l’éphémère, au même titre que les arts de l’improvisation ou de la performance..."

   (Source: Author's Description)

   Luc Dall'Armellina - 10.10.2014 - 15:21

10. Art et pédagogie - génétique du projet en poésie numérique

    C'est une chose bien étrange que d'aspirer à enseigner l'art. Notons qu'il s'agit toujours de l'art de quelque chose. On ne fait le plus souvent et plus modestement que l'enseignement de pratiques susceptibles d'amener au travail artistique.

    On tente au mieux de créer les conditions pour que le moment et le geste créatif advienne, qu'on le reconnaisse et s'en saisisse personnellement, dans la meilleure conscience possible de l'histoire de cette pratique. Mais chacun sait que l'on cumule les difficultés lorsqu'on se met à prétendre le faire à partir de son travail personnel.

    (Source: Author's Description)

    Luc Dall'Armellina - 10.10.2014 - 17:04