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1. A Solipsist Can’t Tell the Time : Changes in the Digital Subject from ‘Vocational Time’ to ‘Timeless Time’

   To what extent are contemporary information and communication technologies (ICTs) implicated in an experience of time that can be characterised as ‘solipsistic’? Metaphysical solipsism, as Bertrand Russell put it, is ‘…the hypothesis that the world consists of myself and my thoughts and feelings and sensations, and that everything else is mere fancy’ (1959: 22). To what extent, then, are ICTs implicated in promoting the experience of time accompanying that world?

   The essay is structured around three key concepts. Part one focuses on Edmund Husserl’s phenomenological concepts of ‘vocational time’ and ‘epochē’. Part two focuses on Manuel Castells’ sociological concept of ‘timeless time’. In part three, I conclude by arguing that ICTs do indeed promote a ‘solipsistic’ experience of time. Solipsism, in the strict metaphysical sense, is an absurd hypothesis; paradoxically, however, it can still be believed, practised, and, I argue, encouraged by certain artifacts and practices within our shared world. The argument is that we should be aware of this paradox in our interactions with ICTs.

   (Source: Author's Abstract)

   Alvaro Seica - 05.02.2015 - 12:37

2. Entries published in the Electronic Literature Directory about the following works: Fest, La Disparue, The intruder, Inside: a journal of dreams, Amor de Clarice, Scriptpoemas, O motor textual: livro infinito, Signagens, Escatologia, Electrografia 1

   Entries published in the Electronic Literature Directory about the following works: Fest, La Disparue, The intruder, Inside: a journal of dreams, Amor de Clarice, Scriptpoemas, O motor textual: livro infinito, Signagens, Escatologia, Electrografia 1

   Daniela Côrtes Maduro - 05.02.2015 - 12:55

3. Caring for Electronic Literature

   Notes on the seminar given by Dene Grigar at the University of Coimbra:

   Words were once untraceable. Before the invention of writing, they would disappear as soon as they were shared. Writing turned words into discernible shapes. Print, in turn, allowed a precise control over the surface of inscription and, by extension, over language. Books are often related to fixity and durability and they are seen as stable and self-contained objects built to last. However, Dene Grigar believes that all texts, regardless of the format being used, are prone to obsolescence or deterioration. Like words in oral tradition, texts can fall into oblivion if they are not preserved or remembered.

   (Source: Author's Introduction)

   Daniela Côrtes Maduro - 05.02.2015 - 13:57

4. Shapeshifting texts: following the traces of narrative in digital fiction

   We have been referring to electronic literature as a corpus of texts with dynamic and
   multimodal features. A digital text can change during reading and assume the form of a
   collage work, a film or a game. Additionally, the text as a whole (Eskelinen, 2012),
   because of its own transient nature, might never be presented to the reader. The text
   can be played at such a pace as to be partly or completely ungraspable. Due to the range
   of forms assumed by the text, it might also be unable to return to an early state. This
   means that the reader might not be allowed to reread or replay the text in order to achieve
   a final or coherent version of it. This also means that there might be no original state to
   return to.
   Shapeshifting is the ability of a being to take the form of an object or of another being.
   This has been a common theme in folklore and mythology and it continues to be explored
   in games or in fantasy and science fiction films, as well as in literature. Since digital
   fiction is created through a computer and this tool can show emergent behavior, texts can
   

   Daniela Côrtes Maduro - 05.02.2015 - 14:48

5. Touch as Technê : Pulse Project

   Touch as Technê : Pulse Project

   Alvaro Seica - 05.02.2015 - 15:12

6. Techné, Corps et Temporalités: Culture de l’écran et Fiction Contemporaine

   Techné, Corps et Temporalités: Culture de l’écran et Fiction Contemporaine

   Alvaro Seica - 05.02.2015 - 15:17

7. Early Digital Art and Writing

   Decades before digital art and writing became widely transmitted and accessed online, pioneers in these expressive fields relied predominantly on sponsored exhibitions of their work. Prior to the emergence of the World Wide Web (WWW), computer-based practitioners desiring to share their compositions - and audiences interested in these contemporary developments - depended on a small number of sympathetic museums and galleries that promoted such innovations. In the 1960s and early 1970s, these exhibits tended to unite experiments produced by both digital writers and artists. Gradually, as electronic arts expanded in a way that digital writing would not until the proliferation of personal computing and global networks in the 1990s, subsequent exhibitions in the 1970s and 1980s predominantly featured graphical rather than language-oriented works. The arts, historically familiar with formal shifts in media in ways that literature was not, quickly responded to the calling of computerized machinery; writers more gradually adapted to digital possibilities.

   (Source: Author's introduction)

   Thor Baukhol Madsen - 06.02.2015 - 12:30

8. Nonlinear Writing

   Nonlinear writing refers to (a) a writerly activity and (b) a specific type of written document. The first meaning relates to the strategy of composing a text in a nonsequential way by adding, removing, and modifying passages in various places of manuscript rather than producing it in one piece, from beginning to end. The second meaning refers to documents that are not structured in a sequential way, with a clear beginning, middle, and end. Rather, their macrostructure follows an associative logic, which assembles its composite elements (paragraphs, text chunks, or lexis) into a loosely ordered network. These networks offer readers multiple choices of traversing a document, which can facilitate specific types of reading strategies, such as keyword searches or jumping between main text and footnotes, and complicate others, such as reading for closure or completeness. (Source: Author's introduction)

   Thor Baukhol Madsen - 06.02.2015 - 13:10

9. Loss of Hover: Re-implementing Director Vniverse as an App for Tablet

   Proposal:
   V appeared in 2002, distributed across an invertible two-in-one print book from
   Penguin, V : WaveSon.nets / Losing L’una, and two online locations: the first, V:
   Vniverse, a Director project with Cynthia Lawson published in the Iowa Review Web,
   and the second, Errand Upon Which We Came, a Flash piece with M.D. Coverley
   published in Cauldron and Net. The print book contained at its center, approached
   from either direction, the url for the Vniverse site.

   Elias Mikkelsen - 12.02.2015 - 14:57

10. Pedestrionics: Meme Culture, Alienation Capital, and Gestic Play

    This presentation considers the rhetoric and poetics of meme culture and social media
    platforms.

    Internet memes, in their essence, are methods of expression born from the attention
    economy of networked culture. At times they can be epistolary, aphoristic, polemic,
    satirical, or parodic; and they may take the form of performative actions and photo fads
    such as planking, teapotting and batmanning or iterative processes such as image macros
    and advice animals including lolcats, Bad Luck Brian and Condescending Wonka. In either
    case they are conditioned by rhetorical formulas with strict grammars and styles.
    In the case of image macros, the rhetoric is sustained through correlations between the
    image and its caption. If we line-up the thousands of Condescending Wonka memes side
    by side, we will find very little difference between them aesthetically – the same image is
    repeated, along with captions at the top and bottom of the image. In the captions we find
    a specific tone that is also repeated one image to the next.

    Thor Baukhol Madsen - 12.02.2015 - 15:12

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