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1. Bob Brown's Reading Machine and the Comic Experience of Electrified Reading

   A recent essay by Jessica Pressman explores Bob Brown's The Readies (1929) as an important predecessor of electronic literature. Pressman argues that Brown's reading machine, which was designed to automatically unfurl scrolls of magnified text before the reader’s eyes in a way similar to a film projector, exemplifies a “machine poetics” that emphasizes the mediation of reading itself, much in the way that electronic literature often does. Brown’s description of his reading machine does indeed seem to offer an uncanny prophesy for subsequent developments in visual poetry and in reading technologies, as Pressman and other critics, including Jerome McGann and Craig Saper, have pointed out. In emphasizing the futurist possibilities of Brown’s machine, however, critics have tended to ignore or downplay the willfully comic aspects of the manifesto in which he proposes it. The tone of Brown’s writing suggests that we ought to count Rube Goldberg, as much as Thomas Edison, among the inspirations for the machine.

   Eric Dean Rasmussen - 21.06.2012 - 13:55

2. Bringing the Art of Design to the National Park Service: The Fort Vancouver Mobile Project

   This panel offers three academic papers that explore the use of mobile technologies in electronic literature. Organized from contributions that appear in the forthcoming collection, Digital Storytelling with Mobile Media: Locative Technologies and Narrative Practices, edited by Jason Farman, the impetus behind each of these papers is the ways in which mobile media are transforming the creation, dissemination, and experience of electronic literature.

   The panel situates these mobile media narratives historically, acknowledging that mobile media have always affected the ways narrative is produced and disseminated. By locating mobile media historically and defining it broadly — yet simultaneously understanding the important impact of contemporary mobile technologies, especially locationaware mobile devices — this panel investigates the relationship between mobile technologies and narrative forms.

   Eric Dean Rasmussen - 21.06.2012 - 13:56

3. Electronic Literature for All: Performance in Exhibits and Public Readings

   Reaching out to new readers of electronic literature is now easier, thanks to the widespread use
   and accessibility of digital media--computers, smartphones, electronic tablets, gaming consoles.
   The channels are in place, but how do new audiences discover and read electronic literature?
   This paper will present two case studies of two different events whose purpose is to introduce
   readers to electronic literature. Both cases show how managing the performative aspects of electronic literature and its context is essential to engage new readers.

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

   Eric Dean Rasmussen - 22.06.2012 - 11:56

4. Commenting Creative Code

   We consider how authors have added comments to electronic literature and how the facility for commenting code has been, and could be, used in unconventional yet productive ways by those working in the literary arts. Our central example is a gloss that we wrote, using JavaScript comments, to discuss the code for our poetry generator, “Sea and Spar Between”: http://blogs.saic.edu/dearnavigator/winter2010/nick-montfort-stephaniest... between/ As this generator is offered for anyone to use in future projects, it was originally written with some JavaScript comments to facilitate reuse. These were extensively expanded in an edition of the poem we call “cut to fit the toolspun course,” now under consideration for a special issue of Digital Humanities Quarterly on “The Literary.” The issues we encountered in writing this extensive, poetic gloss using comments will be central to our discussion.

   Eric Dean Rasmussen - 22.06.2012 - 12:59

5. Literature: Lift this End

   The Internet epistemologist Richard Rodgers describes the latest evolution of digital culture as “the end of the virtual,” a moment at which attention can no longer be confined primarily to integration, encapsulation, or remediation, but must turn instead to natively computational questions and methods. The meaning of this periodic shift is clear enough for the social and information sciences, but less so for the humanities: especially for literature, a field recently split into core and periphery, a home ground of literature-proper set against a hazier outline or outland that has come to be called “the literary.”

   This talk begins by subverting the all-too-familiar topos of end-times or elegiac criticism (the end
   of some world as we know it), by insisting that end may as easily refer to contour or wrapping as
   termination or extinction. That is, an end may also be an edge, a line along which a structure becomes ready-to-hand, or available for manipulation. An end in this sense is an affordance for engagement: commonly, for lifting and carrying.

   Eric Dean Rasmussen - 22.06.2012 - 16:34

6. Why ‘But is it e-lit?’ Is a Ridiculous Question: The Case for Online Journals as Organic, Evolving Works of Digital Literature

   Cordite Poetry Review, an Australian journal of poetry and poetics, was founded in 1997 as a print journal but since 2001 has appeared only online. Over the last ten years, as the magazine has grown in size and reach, the question of Cordite’s status as a journal has become more vexed. Can it be regarded as a ‘proper’ literary journal, in the way that other, offline journals are? Is it truly electronic, given the relative absence of works on the site that explore the possibilities of the online space? Or are these merely ridiculous questions, the posing of which reflects a pre-online hierarchy of prestige?

   Eric Dean Rasmussen - 22.06.2012 - 16:37

7. The (Problematic) Issue to Evaluate Literariness: Digital Literature Between Legitimation and Canonization

   The first experiments in digital literary forms started as early as
   the 1960s. From then, up to the mid-90’s, was a period that,
   according to Chris Funkhouser (2007), can be considered as
   a ‘laboratory’ phase. The rise of the Internet has resulted in the
   proliferation of creative proposals. The first involves indexing
   creative works in the form of databases, sometimes giving access
   to hundreds of works without any hierarchical order. Since 2000,
   digital literature has been experiencing a new phase, marked by
   the creation of anthologies. Over the years, the evaluation and
   selection criteria have proved to be as problematic as they are
   necessary for these projects. The main issue of this paper is to
   provide a critical discussion of these criteria.

   Eric Dean Rasmussen - 22.06.2012 - 16:40

8. Performing the Digital Archive: Remediation, Emulation, Recreation

   The aim of ‘PO.EX '70-80: A Digital Archive of Portuguese Experimental Literature’ (http://po-ex.net/) is to represent the intermedia and performative textuality of a large corpus of experimental works and practices in an electronic database, including some early instances of digital literature. This paper shows how the performativity of digital archiving and recoding is explored through the remediation, emulation and recreation of works in the PO.EX archive. Preservation, classification and networked distribution are also discussed as editorial and representational problems within the current database aesthetics in knowledge production. (Project reference: PTDC/CLE-LLI/098270/2008).

   Eric Dean Rasmussen - 22.06.2012 - 16:42

9. From Reality to Interactive Fiction and the Way Back

   From Reality to Interactive Fiction and the Way Back

   Eric Dean Rasmussen - 22.06.2012 - 16:44

10. netwurker_mez + her cardboard avatar [who might be made up of Boxes, but is *not* Boxxy]

    netwurker_mez + her cardboard avatar [who might be made up of Boxes, but is *not* Boxxy]

    Eric Dean Rasmussen - 22.06.2012 - 16:46

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