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1. Limbo and the Edge of the Literary

   Limbo, released in 2010, is a puzzle platformer that features a player character who awakes in Limbo, on the edge of hell. He must traverse a world of bear traps, giant killer spiders, and spinning gears. As with any game, the player of Limbo will necessarily fail while solving the game’s puzzles; however, this game makes those failures especially painful. The player character is decapitated, impaled, and dismembered as the player attempts to solve each puzzle. The game’s monochromatic artwork, its vague storyline, and these gruesome deaths meant that Limbo, predictably, found its way into various “games as art” conversations. However, this presentation asks whether Limbo can serve as a different kind of boundary object. Given its complete lack of text and its minimalist approach to storytelling, what is the status of Limbo as a literary object?

   Stig Andreassen - 25.09.2013 - 14:31

2. Digital Games and Electronic Literature: Toward an Intersectional Analysis

   The line between electronic literature and digital games has started to blur more than ever. For example, Christine Love’s 2012 Analogue: A Hate Story can be read as a literary “story” that builds on the visual novel form. However, critic Leif Johnson (of IGN) reviewed Analogue as a “game-like experience” and even a “game” that “neatly sidesteps the label of mere ‘interactive fiction’ like Love’s other games thanks to some smart design choices.” Phill Cameron (of Eurogamer) describes Analogue repeatedly as a “game” and also reflects on its deviation from the “interactive fiction” category. The slippage between the language of fiction and games, in such mainstream reviews, reveals a fascinating taxonomic undecidability. Though Analogue’s “textual” focus makes it a natural boundary object between electronic literature and digital games, this tension extends to games that incorporate minimal text or even no text at all. In this presentation, I focus on Thatgamecompany’s third and most critically-acclaimed game, Journey, which was also released in 2012. In Journey, the player guides a mysterious robed avatar through a desert and up a mountain.

   Stig Andreassen - 25.09.2013 - 14:46

3. Blind Spots: The Phantom Pain, The Helen Keller Simulator, and Disability in Games

   For the past thirty years, and especially since the popularization of real time 3D graphics processing in the mid-nineties, the computer and videogame industry has been caught up in a graphical arms race: a relentless and blind pursuit of ocularcentric spectacle culminating in the hypertrophy of the visual economy in games like Hideo Kojima’s Metal Gear 5: The Phantom Pain. Alongside this cinematic hypertrophy, a generation of players and designers have internalized the logic and codes of videogames to produce games and game practices which engage the non-visual conditions of the medium. These games have made use of atrophy and the attenuation of visual gameplay as a form of critical game design resulting in games like The Helen Keller Simulator, an unpopular internet meme that consists of a black (or blank) image with no audio, promoted as a first person videogame. While The Phantom Pain terminates in unplayable cutscenes, The Helen Keller Simulator deploys the restriction of vision to uncannily similar effect.

   Stig Andreassen - 25.09.2013 - 14:58

4. Traduire et préserver des œuvres numériques : Les projets du Laboratoire NT2 : La revue bleuOrange et L’Abécédaire du Web

   Dans le cadre du thème “Chercher le texte nunérique” les Laboratoires NT2 proposent une table ronde afin d’aborder la question de la préservation et de la traduction de la littérature hypermédiatique. Par littérature hypermédiatique, les Laboratoires NT2 entendent des œuvres ayant un contenu littéraire et faisant usage des technologies numériques. Ce sont des œuvres qui combinent matériau textuel et multimédia (sons, images, vidéos, etc.), des hypertextes, des textes générés par ordinateur, des fictions interactives, etc. Lors de cette table ronde, nous présenterons l’importance ainsi que la difficulté de traduire les œuvres de ce corpus. L’importance découle du mandat des Laboratoires NT2 de faire connaître en français cette littérature. La difficulté résulte dans la traduction d’œuvres qui doivent se faire en équipe, avec des créateurs qui n’ont plus toujours accès au code informatique de leur travail ou qui doivent le reprogrammer, c'est-à-dire, retraduire leur propre œuvre pour l’adaptation de leur œuvre vers le français.

   Scott Rettberg - 25.09.2013 - 15:26

5. Collaborative Creativity in New Media (roundtable)

   A presentation of the joint course "Collaborative Creativity in New Media" which took place in 2013 at the University of Bergen. Involving students and faculty from Bergen, the University of Minnesota Duluth, Temple University, and West Virginia University, the course was an experiment in developing a new model for teaching electronic literature and new media arts production as a collaborative process.

   Scott Rettberg - 19.06.2014 - 20:41

6. Troubadours of Information: Aesthetic Experiments in Sonification and Sound Technology

   When Ezra Pound exchanged his initial affinities for the fin-de-siècle decadence of pre-war London poetics for a growing interest in mediaeval troubadour traditions, he was looking beyond innovations in literary form and technique; there is ample evidence in much of his critical writing even at this early stage in his career that the poet was seeking a more philosophical relationship between representation, social ethos and cultural meaning. In the song and musical customs of the troubadour, as cultivated within the “Romance” languages and traditions of southern Europe, Pound identified a rare instance where an artwork’s material form inspired shared cultural sensibilities that transcended any and all context specific references or allusions. Exemplary of this level of aesthetic idealism in the troubadour romance, for Pound, are the songs of the 13th century Tuscan poet, Guido Cavalcanti (d.1300). Cavalcanti’s remarkably precise dedication to the structure and rhythm of the line, Pound informs us, demonstrates equally the “science of the music of words and the knowledge of their magical powers” (1912).

   Jeff T. Johnson - 27.06.2014 - 21:22

7. Paratext in Wittgenstein's Writings

   The Wittgenstein Archives at the University of Bergen (WAB) has since 1990 engaged in building marked-up and platform independent digital corpora of Wittgenstein primary and secondary sources. One important focus is the enrichment of these resources with metadata. I will present WAB’s metadata work incl. its organization through an ontology. I will also present a tool that permits “faceted browsing” of the metadata. I will try to relate WAB’s work on metadata to issues of “paratext”.

   (Source: Author's Abstract)

   Alvaro Seica - 29.08.2014 - 11:04

8. waxweb, dispositif multimodal et transtemporel

   waxweb, dispositif multimodal et transtemporel

   Luc Dall'Armellina - 10.10.2014 - 15:33

9. Roundtable: Chercheur et artiste / artiste et chercheur, de l’art de jongler avec les casquettes

   A roundtable organized by Lucile Haute at the Galerie Rhinocéros et Cie in Paris on November 13, 2014, posing three questions to each author.

   Alvaro Seica - 14.11.2014 - 17:18

10. Guardians of the Gutenberg Galaxy: a Cultural Analysis of Resistances to Digital Poetries

    The primary aim of this paper is to identify some of the key structural elements of resistances to digital poetries, and emergent forms of resistance to digital poetries, exhibited in data collected from publishers associated with page-based poetry (Bohn) in Britain. This will start with analyses of interview texts from a spectrum of UK poetry publishers (collected as part of the first half of my PhD studies) with a particular attention paid to those newly developed modes of resistance to the digital, and the structure of organised and disorganised resistances. A guiding principle is that analysis of resistances, cultural hostility, and the negative spectrum of taste is often as revealing as that of the positive (Bourdieu). The relationship between these resistances and other statements of taste will be interrogated, their motives interpreted. These analyses will be used as a launchpad to raise wider questions about cultural authority, distinction and guardianship.

    David Devanny - 04.08.2015 - 11:50

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