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1. Digital Deep-Sea Diving: navigating the narrative depths of E-lit and VR

   Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different as water is from air, that takes over all of our attention, our whole perceptual apparatus. We enjoy the movement out of our familiar world, the feeling of alertness that comes from being in this new place, and the delight that comes from learning to move within it. 
   –Janet Murray, Hamlet on the Holodeck

   June Hovdenakk - 05.09.2018 - 15:52

2. Speech to text: between the real and the unreal

   Context aware technologies (Augmented Reality) allow for novel forms of interaction with physical environments. These technologies feature properties that allow information to be situated in the environment in a context aware manner. 
   There are diverse ways in which information can be integrated into the environment by such means. The Microsoft Hololens, and related technologies, allow the placement of virtual information in locations that are congruent with physically tangible objects and environmental elements. You may place virtual images onto physical walls, punch virtual portals through to other (virtual) spaces in actual floors, or place a virtual ball on a physical table so that when the table is tilted the ball will roll along the surface of the table and drop onto the floor, bouncing on impact. The virtual object and the physically tangible space the virtual object has been placed within are, within the logic of the system, of the same ilk. The imaginary and the tangible are merged in a novel manner. 

   Jana Jankovska - 05.09.2018 - 15:55

3. Tapping the Mind: Memories Beneath Your Fingers

   Memories are deeply rooted in the concrete: in space, gesture, and material objects. The cognitive processes of forgetting and recalling, the latter involving “action-oriented responses from a living subject to material triggers -- physical stimuli from external environment” (van Dijck 2007: 30), have not only been studied by neuroscientists, psychologists, and cognitive theorists, but have been addressed and examined by e-lit writers as well. 

   Susanne Årflot Løtvedt - 05.09.2018 - 15:58

4. Translating Electronic Literature: A Few Conclusion, Methodologies and Insights

   Over a year and a half ago, a group of scholars, programmers, artists and translators started working on a research project focusing on the translation of various works of electronic literature, ranging from e-poetry (Maria Mencia’s The Poem That Crossed the Atlantic), digital database (Luís Lucas Pereira’s Machines of Disquiet), installation (Søren Pold et al’s The Poetry Machine), digital aurature (digital language art in programmable aurality) (John Cayley’s The Listeners) and hyperfiction (Michael Joyce’s afternoon, a story). In order to identify common and divergent issues depending on the genres, formats and languages of the works under study, they were all examined through the prism of the following concepts: Translinguistic translation (translation between languages), Transcoding (translation between machine-readable codes and between machine-readable codes and human-readable text), Transmedial translation (translation between medial modalities), and Transcreation (translation as a shared creative practice).

   Kamilla Idrisova - 05.09.2018 - 15:58

5. Pleasure and E-Lit: Looking at the Difficult and Unfamiliar in the Undergraduate Classroom

   In their 2001 book Art with a Difference: Looking at Difficult and Unfamiliar Art, Leonard Diepeeveen and Timothy Van Laar observe “Artwork is not just an object; it is an object (or event) that does something. The most basic thing an artwork does is give its viewers an implicit set of instructions for its use; it suggests ways in which it ought to be experienced” (95).

   While not written with electronic literature in mind, the book was designed as a supplementary text for beginning arts courses with an awareness of the difficulty that many beginning or non- specialist readers have in understanding contemporary art. The e-lit classroom can be beset by similar difficulties; even the most avid readers in a class can be puzzled by or resistant to the diverse cognitive and ergodic “reading” activities that accrue under the banner of electronic literature.

   Li Yi - 05.09.2018 - 16:01

6. Electronic Literature and Getting to the New

   Gilles Deleuze assumes that the source of creativity/the new (as opposed to just the development of what already is implicit in existing things) lies outside conscious thinking. In this paper we discuss Deleuze’s approach to finding the difference between development and creativity via the analysis of film technology, and ask whether anyone is using computers the way Deleuze conceives of those film-makers who are philosophic using film? 

   June Hovdenakk - 05.09.2018 - 16:01

7. PhoneMe: A mobile phone-native genre of poetry for the social media age

   This presentation regards to development of a place-based, geotagged, online mapping of an innovative, mobile phone-native, spoken word genre of poetry. The website www.phonemeproject.com hosts poems that are left as messages by calling 1-604-PHONEME (746-6363) and leaving your name, location of the call or topical location of the poem, title of the poem, and then recording a poem of up to four minutes in length. The poem is pinned on an interactive map that features a google street view image of the location, the MP3 audio file, and in some cases the text of the poem. Longer poems can serialized. The intent of this project is to give voice to community-based writing about real places and spaces within the community. As such, it began with a year of workshops conducted in the downtown east side of Vancouver, one of the poorest neighbourhoods in North America, in order that poets in the community to speak back to media representations of their neighbourhood. We have moved on to working with schools, providing workshops for hundreds of students in British Columbia, Canada.

   Jana Jankovska - 05.09.2018 - 16:02

8. The Urban Metainterface

   Examples of everyday urban experiences with interfaces are numerous: TripAdvisor provides access restaurants, and other sights that are otherwise not clearly visible in the urban landscape; with Airbnb, any apartment in the city holds the invisible potential of a bed and breakfast, etc. In other words “every street corner and every local pub leads a double life.” (de Waal). The interface is however not just an interface to the city, but is a meta-construction that within itself holds a particular urban gaze (Andersen and Pold). This presentation focuses on the black box of the urban metainterface, and how the city is textualized beyond the street sign and the billboard; and how this produces a particular territoriality and perception of space. The urban metainterface depends on an ability to capture the user’s behaviors: the more the interface opens up the city – to diverse behaviors and signification – the more it needs to monitor the users and their milieu, and process these data. The more we read, the more we are being read. But what are the aesthetic mechanisms of seeing and walking in the city, whilst being seen and being guided? 

   Jana Jankovska - 05.09.2018 - 16:09

9. You're On

   “You’re On” explores the relationship and particularly the gap between the types of expressions we use and understand and what technology can "read". Technology has rapidly begun to both produce human-like performances, including speech synthesis in products such as Alexa, synthetic artwork based on deep neural networks as well as reproductions of human performers trained on recorded videos.

   In this work, the interactor sits in front of a simple screen and is provided instructions and interacts with the work entirely through reading the text on the screen and expressing emotions. It takes advantage of the facial recognition toolkit "OpenFace: open source facial behavior analysis toolkit" which analyzes facial action units in real time and Google's text to speech service. These are used as input into an interactive narrative built using the open source interactive narrative scripting language "Ink" by Inkle Studios. The story and role were inspired by Neal Stephenson's novel The Diamond Age, or, A Young Lady's Illustrated Primer and Terminal Time by Michael Mateas, Steffi Domike, and Paul Vanouse.

   Samuel Brzeski - 10.09.2018 - 13:24

10. Inner Telescope

    Inner Telescope is a poem created aboard the International Space Station (ISS) with the assistance of French astronaut Thomas Pesquet, who realized it on Saturday, February 18th, 2017. Inner Telescope was specifically conceived for zero gravity and was not brought from Earth: it was made in space by Pesquet following my instructions. The poem was made from materials already available in the space station. It consists of a form that has neither top nor bottom, neither front nor back. Viewed from a certain angle, it reveals the French word “MOI“ [meaning “me”, or "myself"]; from another point of view one sees a human figure with its umbilical cord cut. This “MOI“ stands for the collective self, evoking humanity, and the umbilical cord cut represents our liberation from gravitational limits. Inner Telescope is an instrument of observation and poetic reflection, which leads us to rethink our relationship with the world and our position in the Universe. Since the 1980s, I have been theorizing and producing poetry that challenges the limits of gravity, especially with my holopoems—written with light.

    Laurie Lax - 11.09.2018 - 23:01

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