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1. POIESIS <POEMA>ENTRE PIXEL E PROGRAMA</>

   Catalog published by Oi Futuro featuring printed stills of installations, projections, and LCD, computer, and electronic panels compiled during the exhibit which took place in Rio de Janeiro in 2007. The catalog also includes critical essays by the three curators, Friedrich Block, André Vallias and Adolfo Montejo, as well as scholarly contributions by Simon Biggs, Augusto de Campos and Florian Cramer.

   Luciana Gattass - 09.11.2012 - 11:28

2. Remix Writing and Postproduction Art (Workshop)

   What is remixology? What is postproduction art (PP Art)? 

   In this workshop, we will investigate a small selection of experimental literary texts, websites, music videos, and audio tracks that employ different remix strategies to develop new works of art. These remix artworks will trigger a more general discussion on the emergence of hybridized art forms that are growing out of a thriving interdisciplinary media arts scene. 

   Media art forms that will make their way into the workshop mix include electronic literature, net art, digital video, and live A/V performance. 

   Given our time limitations, the workshop will be targeted at introducing participants to the way contemporary media artists may turn to remix and/or postproduction methods to create unexpected works of art. 

   Questions . . .
   Can you imagine remixing Gertrude Stein's "Tender Buttons" into a philosophical treatise on technicity and the loop and then using the treatise as a script for your spoken word performance in Second Life? 

   Scott Rettberg - 07.01.2013 - 15:37

3. Logging In

   Sandy Baldwin's presentation theorizes the rhythms and flows of the logging field as cognitive activities of the virtual subject. He describes a psychoanalytics and poetics of login, first in the protocols of unix .cshrc and .login files, as well as machine logs. These primary site of net inscription intensify and wane. They must be fed: you must login. The iterative inscription of the subject deepens the signifiers of login into buccal organs of incorporation. The second part of his paper focuses on Captcha software, which combines repeated Turing tests with enormous amounts of text production, all put to work in the background as the largest distributed OCR project in the world. Finally, he examines artists using login to produce work, with examples from Alan Sondheim, Noemata, and Mouchette.

   (Author's abstract from the 2008 ELO Conference)

   Scott Rettberg - 07.01.2013 - 16:09

4. Infinite Interfaces and Intimate Expressions: Hand-Held Mobile Devices and New Reflective Writing Spaces

   In my presentation I will examine hand-held mobile interfaces and the complex possibilities they provide for self-reflective digital writing. As technological innovation has minimized the writing space and increased its portability, the interface has been radically altered. With the keyboard reduced to fingertip control and the screen transformed to a compact-sized mirror, intimacy between user and device is increased, along with the infinitesimal possibilities for personal production afforded when writing goes on the move. With reference to location-based mobile "writing," I will explore this new form of self-reflective digital expression and theorize models for engaging this new personal interface.

   Scott Rettberg - 07.01.2013 - 23:07

5. Implied Code as Mental Geography

   The "implied code" is a mental model of the operational logic of an interactive work. We might describe this as a kind of interior map in the mind of the interactive user, a private cartography created while wandering the territory of the code. In hypertext fiction, representations of the corpus of the text through "maps" (e.g. a garden, quilt, or body) have played with the disjunction between the map and the territory of node-link navigation. In interactive fiction (IF), map-making both an authoring and user engagement strategy is a tradition that stretches back to the foundation of the genre in 1970s speleunking. Later, paratextual maps of various kinds were often bundled with 1980s corporate works. The tensions between these authorial, descriptive maps and user-created, experiential maps (both mental and physical) are still explored in today's contemporary IF. Like the implied human in Turing's test, these implied psychogeographic landscapes are often not what they appear, however this artifice is one fundamental aspect of their art electronic literature.

   Scott Rettberg - 08.01.2013 - 10:47

6. Taking A Scroll: Text, Image and the Construction of Meaning in a Digital Panorama

   This essay discusses a series of projects that use horizontal scrolling composition. The essay considers how the digital panoramic and scrolling formats combined with techniques of layering and compositing provide makers with ways to integrate diverse modes and disciplinary materials in a common environment and how they allow uses means of path-making and choice-making. Works discussed include Cultures In Webs (Eastage 2003), Something That Happened Only Once (2007), and Unknown Territories (2008).

   Scott Rettberg - 08.01.2013 - 23:57

7. New Forms of Subjectivity? Writing and Corporeality in Australian New Media Art

   Taking the work some Australian new media artists as case studies, we explore the contemporary penetration of writing into visual media and visual media into writing. (The work of Chris Caines, Ross Gibson, Norrie Neumark and Maria Miranda, Joyce Hinterding and David Haines, Peter Charuk, Leon Czmielewski, Ben Denham and Sarah Waterson are all possible sites of focus).

   (Source: Authors' abstract, 2008 ELO Conference site)

   Scott Rettberg - 09.01.2013 - 12:05

8. Hypertextual Fiction on the Internet: A Structural and Narratological Analysis

   Traditional printed texts and hypertexts are not fundamentally different. Actually they have more in common than is commonly assumed, and they thus can be analysed well within the parameters of established categories of literary theory. Against this background it seems striking that a number of theoretical treatises by early hypertext theorists such as Landow, Bolter, or Joyce refer to the revolutionary character of this kind of writing, the amazing technological development that lies behind it, and the almost miraculous convergence of postmodern literary concepts and hypertext. These treatises can be criticised for foregrounding technological innovations to a disproportional extent, while lacking both elaborate theoretical foundation and support from actual close analyses of hypertextual narratives. Especially hypertexts which are published on the internet have not been accounted for in a substantial way. Therefore, the present dissertation aims to provide the necessary theoretical framework for a close literary analysis of hyperfiction on the internet.

   Source: Author's Abstract

   Patricia Tomaszek - 21.02.2013 - 14:18

9. Cult of the Amateur: how blogs, MySpace, YouTube, and the user-generated media are destroying our economy, our culture, and our values

   Cult of the Amateur: how blogs, MySpace, YouTube, and the user-generated media are destroying our economy, our culture, and our values

   Jill Walker Rettberg - 09.06.2013 - 23:29

10. Tekstspill i hypertekst. Koherensopplevelse og sjangergjenkjennelse i lesing av multimodale hyperfiksjoner

    English translation of title: Textual interplay in hypertext. The experience of cohesion and the regonition of genre in multimodal hyperfictions. The dissertation provides a discussion of electronic literature in general, with two in depth analyses of Megan Heyward's "I am a Singer" and of Anne Bang-Steinsvik's "I mellom tiden".

    Scott Rettberg - 26.06.2013 - 13:40

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