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1. Of People Not Machines: Authorship, Copyright and the Computer Programmer

   Authorship of computer programs merits close attention, on one level, because it illustrates what is one of my more general observations about the relationship between ideas of authorship in law and the "digital arts": its complexity. The sphere of "digital arts" is characterised by a multiplicity of creative practices and consequently a diversity of ideas about “authorship”, which resist simplistic conclusions as to what the challenge of the digital should mean for law. At the same time, the status of computer programmers as authors draws attention to what for modern lawyers is likely to be an unexpected and counter-intuitive observation about certain aspects of the relation between digital art and law: far from always a source of challenge, the discourses of authorship in the "digital arts" can also provide the law with assistance. Indeed, as we will see, in humanising technology and exalting the computer programmer as a creative poet, certain discourses of digital art can in fact provide coherence and legitimacy to legal concepts of authorship, rather than challenging them.

   Elisabeth Nesheim - 27.08.2012 - 14:08

2. The New Gamified Social

   How many friends do you have? How many followers? How many people have liked your recent post or video? How many shares or how many re-tweets did that post have? And then ultimately what is the total score? How influential are you?

   These are questions that might not be openly asked but are always on social media users’ minds. Constantly looking after their “scores” and checking on the popularity of others’, users today clearly show that in the social networking world numbers matter. Numbers reveal how sociable users are, how popular their sayings are, how interesting their everyday life appears to be. High scores depend on the content, or rather the virtuosity of the user behind the content; on the way moments, actions and thoughts are captured, expressed and uploaded, in proper timing with a readiness for timely interaction.

   Elisabeth Nesheim - 27.08.2012 - 15:07

3. R3/\/\1X\/\/0RX - an artist's presentation

   This is an artists' presentation of the project R3/\/\1X\/\/0RX (remixworx) as a case study for Remediating the Social Conference.

   R3/\/\1X\/\/0RX, the blog, began in November 2006 as a collaborative space for remixing digital art, visual poetry, e-poetry, playable media, animation, photography, music and texts. Since then it has grown to include more than 500 individual works of media, many strewn about in comment areas. Where possible, each new piece is remixed, literally or conceptually, from others on the blog and linked to the appropriate page(s). New work is welcome too because R3/\/\1X\/\/0RX needs to be fed. Source material is made available and all media is freely given to be remixed. Thus, the project has no single author.

   Elisabeth Nesheim - 27.08.2012 - 16:32

4. The ELO and Two E-Lit Exhibits

   After introducing the Electronic Literature Organization and some ways to
   characterize the concept of e-lit, I describe two small exhibits that
   worked well by taking the opportunities offered by two different contexts:

   Codings, an exhibit at the Pace Digital Gallery, Pace University, New
   York. Curated by Nick Montfort. Featuring work by Giselle Beiguelman;
   Commodore Business Machines, Inc.; Adam Parrish; Jörg Piringer; Casey
   Reas; and Páll Thayer. Gallery directors, Frank Marchese and Jillian
   Mcdonald. February 28 - March 30, 2012.

   Games by the Book, an exhibit at the Hayden Library, MIT, Cambridge,
   Massachusetts. Curated by Clara Fernández-Vara and Nick Montfort.
   Featuring work by Douglas Adams, Steven Meretzky, and the BBC; Charlie
   Hoey and Pete Smith; Jon Thackray and Jonathan Partington; and the
   Singapore-MIT GAMBIT Game Lab. September 7 - October 8, 2012.

   Jill Walker Rettberg - 02.11.2012 - 18:08

5. Invisible Participation: Language and the Internet

   Language is the hidden scaffolding of networks, applications, and web sites. It is minified and monetized in ways that are often occluded from the everyday user’s experience. From their point of view, the interaction is innocuous – language is used for labels and explanations. A few words are typed into an empty field and thousands of related results appear instantly. A simple search, an email to a friend, a unique phrase – all easily logged, monetized, and indexed. This is the world of invisible participation.

   Scott Rettberg - 05.11.2012 - 16:28

6. The Artist, the Database, and the Project of the University

   John Cayley's talk at the ELMCIP Remediating the Social conference "Invisible Participation" panel, where he used the ELMCIP Knowledge Base to make some important points about the function of the database in the future of arts and humanities research, imagining a future in which the documentation of a work within the database (the artistic event) is the accredited publishing event.

   Scott Rettberg - 06.11.2012 - 10:47

7. The Web is Paratextual: An Exploration of the Web's Architecture from a Paratextual Perspective

   Contrary to what one might assume when comparing the materiality of the book-as-object to the Web, this paper proofs what the title promises and projects Gérard Genette's '87 book-based paratext theory onto the Web. Elements of the Web’s architecture selected for this paratextual study include textual units that are exposed in browser windows, thereby taking into consideration Hypertext Markup Language (HTML) and the structure of website-addresses and links.The presentation concludes with examples from electronic literature, that is literature in programmable media, an artistic practice employing language-driven, linguistic, and literary features in multi-medial, digital environments carried out by an artist, programmer, designer, or computer program.

   Patricia Tomaszek - 07.12.2012 - 11:46

8. Minecrafted Meaning: The Rhetoric of Poetry in Game Environments

   This essay is a synopsis of my fourth chapter from my dissertation. My research consists of game-poems and how they fundamentally alter the experience of “reading” poetry. Ultimately, my argument is that poetic experience is no longer initiated by text, but by the kinetic, audible, visual, and tactile functions in the digital environment that I label as trans-medial space; in effect, these functions sustain the poetry experience, and, thus, require the reader/user of the poem to play, rather than read, as a new form of “reading” the digital game-poem in order experience and interpret a poem’s meaning.

   Jill Walker Rettberg - 28.06.2013 - 09:05

9. "A Machine Made of Words by a Machine Made of Numbers"- Authorial Presence in Niemi’s Stud Poetry

   Primary Text: Marko Niemi’s Stud Poetry, a demo of which would run during the presentation.

   The paper opens with a brief discussion of the inherently conservative nature of the ELO’s definition of electronic-literature and the critical tendencies which this encourages. It has a strong focus on those critics who identify the forms which electronic literature has taken as an extension of modernist experimentation in the Twentieth Century, while disregarding the new possibilities which programmable media furnishes the poet with.

   These possibilities are manifest in Niemi’s Stud Poetry, a text which has been consistently overlooked since its publication, perhaps because it presents a challenge to the dominant critical trends. Stud Poetry cannot fully be understood in terms of print-based modernist experimentation, Dada or Burroughs, because it would be impossible to achieve without a computer program. Niemi wrote the code which ‘writes’ each poem/game.

   Jill Walker Rettberg - 23.08.2013 - 12:24

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