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1. Literary Hypertext: The Passing of the Golden Age

   29 October 1999 Keynote Address, Digital Arts and Culture Atlanta, Georgia (This speech was also published in Feed in 2000.) Coover's DAC Keynote address discussed the transition from the "golden age" of narrative-driven, text-dominated hypertext fiction, mainly produced in Storyspace, to an era dominated by the practices and attention spans of the World Wide Web, and a new focus on the image.

   Scott Rettberg - 25.03.2011 - 16:18

2. Print Is Flat, Code Is Deep: Rethinking Signification in New Media

   Lulled into somnolence by five hundred years of print, literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters. Central to repositioning critical inquiry, so it can attend to the specificity of the medium, is a more robust notion of materiality. Materiality is reconceptualized as the interplay between a text's physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset. This definition opens the possibility of considering texts as embodied entities while still maintaining a central focus on interpretation. It makes materiality an emergent property, so that it cannot be specified in advance, as if it were a pre-given entity. Rather, materiality is open to debate and interpretation, ensuring that discussions about the text's "meaning" will also take into account its physical specificity as well.

   Scott Rettberg - 25.03.2011 - 21:11

3. Gamely Interstitial: Narrative, Excess, and Artifactual Interstanding

   Moulthrop's 1999 Cybermountain keynote, delivered in a MOO online, addresses connections between games, comics, visual narratives, and contemporary web-based and hypertext fictions, emerging from postmodernist media and literary landscape.

   Scott Rettberg - 26.03.2011 - 10:49

4. Deeper into the Machine: The Future of Electronic Literature

   N. Katherine Hayles's keynote address for the 2002 State of the Arts Symposium at UCLA. Hayles identifies two generations of electronic literature: mainly text-based works produces in Storyspace and Hypercard until about 1995-1997, and second-generation works, mainly authored in Director, Flash, Shockwave and XML in years after that. She identifies second-generation works as "fully multimedia" and notes a move "deeper into the machine." She then reads a number of second-generation works in the context of their computational specificity.

   Publication note: Also published online in Culture Machine Vol. 5 (2003)

   Scott Rettberg - 30.05.2011 - 12:38

5. Adventures in Mot-Town

   In his State of the Arts keynote, Coover offered a tour of a number of contemporary works of electronic literature, in the style of an adventure story following our hero "Mot" -- the word -- as it wrestles through the multimediated world of graphic networked technologies.

   Scott Rettberg - 30.05.2011 - 16:17

6. A History of the Future of Narrative

   A History of the Future of Narrative

   Scott Rettberg - 19.05.2012 - 01:51

7. Embodied Interaction and the Aesthetics of Behavior

   Embodied Interaction and the Aesthetics of Behavior

   Jill Walker Rettberg - 09.10.2012 - 22:40

8. Collective Memory and the Development of a Field: Building the ELMCIP Electronic Literature Knowledge Base

   Collective Memory and the Development of a Field: Building the ELMCIP Electronic Literature Knowledge Base

   Scott Rettberg - 13.11.2012 - 01:04

9. Transliteracy and Interdisciplinarity in Digital Media Research

   Transliteracy and Interdisciplinarity in Digital Media Research

   Scott Rettberg - 07.01.2013 - 15:20

10. Artists, Personas, Mediums, Instruments: Envisioning the Visionary

    In his artist essay "Steps Into Performance (And Out)," Vito Acconci writes: "...if I specialize in a medium, then I would be fixing a ground for myself, a ground I would have to be digging myself out of, constantly, as one medium was substituted for another - so, then instead of turning toward 'ground' I would shift my attention and turn to 'instrument,' I would focus on myself as the instrument that acted on whatever ground was available." 

    Is it true that the artist is the visionary medium or instrument best positioned to transform the cultural landscape and that the tools we use, the theories that justify it all, and the outcomes that all too often play into the preconceived agendas and methods of the academic research community as well as the corporate R&D divisions should have very little to do with the way an artist or collaborative network of artists bring their creative compositions into society? 

    Scott Rettberg - 09.01.2013 - 10:43

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