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1. 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

2. The Generative Literature Project & 21st Century Literacies

   In Fall 2014 I taught a “special” version of my “Writing Electronic Literature” course. Throughout this class my students received an overview of established and emerging forms of Electronic Literature including hypertext fiction, network fiction, interactive works, and digital poetry. Students read, analyzed, and composed a variety of emerging genres of Electronic Literature. Yet what was unique to this particular iteration of my E-Lit class was that my students contributed to a transmodal generative novel to be published in late 2015 by the academic journal Hybrid Pedagogy. The idea of a generative novel is one that can be traced to the OuliPo group (Ouvroir delittérature potentielle) in France. According to the OuliPo website, the generative writer is “un rat qui construit lui-même le labyrinthe dont il se propose de sortir” (trans. “a rat who builds the maze he wishes to escape”). In this understanding of art and literature, the idea of creation, especially literary creation, is one of wordplay and gameplay. Therefore, the generative novel is, in itself, a game – one of interplay between people, cultures, and institutions.

   Hannah Ackermans - 16.11.2015 - 10:21

3. IVANHOE

   IVANHOE is a pedagogical environment for interpreting textual and other cultural materials. It is designed to foster critical awareness of the methods and perspectives through which we understand and study humanities documents. An online collaborative playspace, IVANHOE exposes the indeterminacy of humanities texts to role-play and performative intervention by students at all levels. While we often refer to IVANHOE as a ?game,? it is important to understand that the concept has broader implications for humanities pedagogy and research, and that many modes of sophisticated, scholarly gamesmanship are possible in the IVANHOE environment. The ?rules? of the game are up to its players and initiators. IVANHOE can foster both competitive and collaborative interaction, well suited to research and teaching. No, really: what is IVANHOE? In simple terms, IVANHOE is a digital space in which players take on alternate identities in order to collaborate in expanding and making changes to a ?discourse field,? the documentary manifestation of a set of ideas that people want to investigate collaboratively.

   Hannah Ackermans - 31.03.2016 - 15:15

4. How to Avoid Being Paranoid

   Melissa Gregg reviews Eve Sedgwick’s Touching Feeling

   Glenn Solvang - 07.11.2017 - 12:50

5. What's Mine is Mine, and What's Yours Is Mine: Ownership in Online Universities

   Paul Collins on collegiate content: syllabus, discussions, lectures, and all.

   (Source: EBR)

   Filip Falk - 15.12.2017 - 16:47

6. Literatura electrónica en español / Electronic Literature in Spanish

   Alex Saum-Pascual presents and contextualizes contemporary Spanish-language electronic literature and reads from her digital poetry.

    

   Scott Rettberg - 03.05.2018 - 10:00

7. Platform Studies: Frequently Questioned Answers

   We describe six common misconceptions about platform studies, a family of approaches to digital media focused on the underlying computer systems that support creative work. We respond to these and clarify the platform studies concept.

   (Source: Authors' abstract)

   Ana Castello - 02.10.2018 - 19:01

8. Hybrid Praxis and Collaborative Culture in an E-Lit Classroom

   In this paper, I share my experiences and some strategies developed while teaching my first E-lit course at a small urban liberal arts college. Mills College at that moment, had no campus digital curricular resource center for faculty or students and the English department’s approaches to digital humanities were, by necessity, hyper local and “small batch.” As the first E-lit course offered at Mills it was designed to be both an introduction to E-literature and criticism, and to literary critical practices and it was also to have a creative component that allowed students to develop their own born-digital projects. 

   The course drew students from literature and creative writing majors and non literature majors and enrolled both graduates and undergraduates. It was an exuberant group who brought a tremendous range of skills to the table. Figuring out how to teach this cohort and this material was a creative-critical challenge of its own. E-lit as topic and medium invited me to think in new ways about my pedagogy. 

   June Hovdenakk - 05.10.2018 - 12:55

9. No World 4 Tomorrow

   “You and CO2” is an innovative, interdisciplinary project combining research and public engagement activities to encourage young people, aged 12-15, to engage with the global problem of climate change on a local scale and to commit to behaviour changes that will reduce their carbon footprints.

   Through three workshops delivered in class, we educate the students about the role of carbon dioxide in climate change and the carbon dioxide emissions associated with everyday activities. The students read/play No World 4 Tomorrow, a custom-built interactive digital fiction on climate change, and then create their own interactive stories on the topic.

   Hannah Ackermans - 06.04.2021 - 10:43

10. Alternative Play? Twine as a Digital Storytelling Platform

    In this panel moderated by Lai-Tze Fan, we examine Twine at ten, exploring the ongoing influence of this hypertext platform on pedagogy, play, and literature:
     

    What We Talk About When We Talk About Twine (Moulthrop) - Creating digital stories and games involves many cultural registers. Just as important is the unmapped, semi-formal culture that underlies communal, open-source software. In the case of Twine, this can involve distinctions among versions of the core software, associated scripting languages, and "story formats." Learning this buried lore can reveal a technologized "artworld," in Howard Becker's term, and raises questions of hierarchy, value, and the nature of creative work in what is essentially a gift economy – questions that may ultimately apply to any form of art.
     

    Milosz Waskiewicz - 27.05.2021 - 16:12

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