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1. Abandoning Canon: Fluid Texts and Implicit Collaboration in Electronic Narratives

   Digital technology enables artists - photographers, musicians, writers, filmmakers, illustrators,
   animators, etc. - to place their work not in a strictly definable where, but effectively everywhere
   (everywhere, that is, where infrastructure and access are available). Where once the lines between
   author, text, and reader could be drawn with linear vectors, digital technology and their increasing
   availability and accessibility bring author, text, and reader into a potentially endless cycle of narrative, creation, wherein the roles are fluid and the text may never be fixed. Because of this capability, Astrid Ensslin argues that the idea of literary canon must depart from "its traditional self-contained, closed, and rigidly exclusive connotations. Instead, an inclusive, open concept has to be adopted, which works in terms of a continuous process of integration, modification and discharge" (2006, n.p).

   (Source: Author's abstract, 2012 ELO Conference site)

   Eric Dean Rasmussen - 21.06.2012 - 13:53

2. Über Literatur und Digitalcode / Digital Code and Literary Text

   "This paper is based on the general (yet disputable) assumption that the theoretical debate of literature in digital networks has shifted, just as the poetic practices it is shaped after, from perceiving computer data as an extension and transgression of textuality (as manifest in such notions as "hypertext'', "hyperfiction'', "hyper-/ multimedia'') towards paying attention to the very codedness - i.e. textuality - of digital systems themselves."

   Original text by Florian Cramer, retrieved from https://www.netzliteratur.net/cramer/digital_code_and_literary_text.html

    

   Johannes Auer - 05.11.2012 - 22:23

3. Towards an Art of Rhetoric in Electronic Literary Works: The Figures of Manipulation

   On the basis of electronic literary works, we can identify specific rhetorical figures in interactive writing: the figures of manipulation. It is a category on its own, along with figures of diction, construction, meaning and thought. For example, the figure of appearance/disappearance (responding to an action of the reader) is as a key figure among the figures of manipulation.

   What is emphasized in such figures is the coupling action/behavior, which could be considered as a basic unit in interactive writing. This coupling can be conceived independently from the medias (text, image, video) it relies on. Thus, it seems relevant to have an a-media approach when defining an art of rhetoric in interactive writing.

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

   Scott Rettberg - 08.01.2013 - 23:32

4. Space for writing: a sidelong glance at the history of immersive spatial hypertext

   The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.

   (Source: Author's abstract for ELO_AI)

   Audun Andreassen - 14.03.2013 - 14:42

5. Spirals of Meaning: Exploring Nonlinearity through Prezi’s Infinite Canvas

   Our linear expectations of digital presentations (and the scorn associated with “Death by PowerPoint) have been transformed by the availability of tools such as Prezi, an editor that allows for the juxtaposition of images, text, and other media on a telescoping canvas that relies on linear paths for exploring nonlinear content. Prezi acts an infinite canvas, recalling Scott McCloud’s model for a future of sequential art on the web defined not by pages but by the screen as portal to an expanding and linked storyspace, allowing for continual layering of meaning and data using the methods of what Henry Jenkins describes as environmental storytelling. Alexandra Saemmer's use of Prezi as a space for experimenting with electronic literature breaks our expectations of a tool originally designed for presentations. The adaptation of tools of this kind towards the development of literary experiences reveals the fundamental transformations of procedural expectations and linked structures in online spaces: the co-location and linking of ideas to create meaning is now a matter of course.

   Jill Walker Rettberg - 23.08.2013 - 12:16

6. "A Machine Made of Words by a Machine Made of Numbers"- Authorial Presence in Niemi’s Stud Poetry

   Primary Text: Marko Niemi’s Stud Poetry, a demo of which would run during the presentation.

   The paper opens with a brief discussion of the inherently conservative nature of the ELO’s definition of electronic-literature and the critical tendencies which this encourages. It has a strong focus on those critics who identify the forms which electronic literature has taken as an extension of modernist experimentation in the Twentieth Century, while disregarding the new possibilities which programmable media furnishes the poet with.

   These possibilities are manifest in Niemi’s Stud Poetry, a text which has been consistently overlooked since its publication, perhaps because it presents a challenge to the dominant critical trends. Stud Poetry cannot fully be understood in terms of print-based modernist experimentation, Dada or Burroughs, because it would be impossible to achieve without a computer program. Niemi wrote the code which ‘writes’ each poem/game.

   Jill Walker Rettberg - 23.08.2013 - 12:24

7. The Materiality of the Intangible: Literary Metaphor in Multimodal Texts

   The materiality of fiction narratives is, ironically, a rather intangible concept, particularly as the notion of materiality traditionally relates to specifically tangible tools of creation — such as the painter’s brush or the sculptor’s clay. The materiality of digital artifacts lies only superficially in the haptic hardware of screens, keyboards, and mice; the materiality of modes, navigation, and interaction must also be explored for their effects on metaphor and meaning. Bouchardon & Heckman identify three levels of materiality in digital literary works: the figure of a semiotic form, the grasp required to physically interact with the work, and the memory of the work — its whole compiled from the parts of code, hardware, and user/reader experience that form meaning (2012, n.p.). In presenting her theory of the technotext, however, Katherine Hayles argues that it is the conjunction of the physical embodiment of technotexts (whether semi-tangible in digital form, or as fully physical as a book) with their embedded verbal signifiers that constructs both plurimodal meaning and an implicit construct of the user/reader (2002, 130-1).

   Jill Walker Rettberg - 25.09.2013 - 12:41

8. One + One = Zero – Vanishing Text in Electronic Literature

   The concept of “erased” text has been a recurrent theme in postmodernist criticism. While most speculation about the presence or absence of an absolute text is applied to print literature, the manifestations of digital text present a new and entirely separate level of investigation.
The combination of visible language and hidden code do not negate the basic questions of language and interpretation – these continue to be important in our study of electronic texts. However, the visible text – under the influence of code – can be modified, transformed, and even deleted in ways that introduce markedly different implications for reading strategies and meaning structures.
This paper will explore a selection of works from electronic writers illustrating text/code practices that involve disappearing “text.” Text can absent itself by the simplest of reader actions – the mouseover or the link which takes the reader to another “lexia” in the piece. But text can also be obliterated by actions of the code, unassisted by the reader/navigator. Moreover, there are intermediate techniques to create vanishing text.

   Alvaro Seica - 04.10.2013 - 11:37

9. Where Is the Text? The Disappearance of the Text in Electronic Poetry

   Electronic poetry encompasses works very different from one another. Talking about electronic poetry as if it were just one creative form seems to be inaccurate. On the other hand the interest to be had in electronic poetry seems to reside exactly in the diversity which electronic poetry has to offer to its reader.
   This paper will feature an empirical approach to electronic poetry. The aim of this paper is a two-fold goal. On the one hand it will study the “development” of electronic poetry, and our hypothesis is: the text is disappearing in e-poetry; and on the other it will compare e-poems written in different languages to see if there are differences of style in composing e-poetry.
   

   Alvaro Seica - 04.10.2013 - 11:58

10. On the Possibility of a Text That Is Not Digital

    This twenty-minute paper builds toward the following provocation: it is no longer possible for a text not to be digital. Considering both existing and invented definitions of digital textuality, this paper frames (again!) various discussions of the nature of digital (and "electronic) texts, examining in digital texts their materialities and temporalities, their associated modes of composition and reception, their most evident differences from traditional texts, and their claims to both digital-ness and to textuality. Selecting key features from this analysis, I conclude that the digitalness of a text relates to the way in which it opens (and closes) certain possibilities of reading and other actions. Google's Book project, numerous digital library efforts, and even devices for digitizing business cards attest to the drive to make all texts digital. But, I suggest, even beyond these current events, we have come to understand the very idea of a text already in terms of its possibilities and thus as already digital or potentially digital. What room is left for another, non-digital notion of textuality to present itself?

    (Source: Author's introduction)

    Thor Baukhol Madsen - 17.02.2015 - 15:05

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