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1. Editing the Electronic Literature Collection, Volume Two

   A report on the issues and challenges, both conceptual and technical, the four-member editorial team (Laura Borràs, Talan Memmott, Rita Rayley, and Brian Kim Stefans) faced when assembling a collection of sixty works of electronic literature that aspired to be representative of a diverse, international field of literary practice.

   Eric Dean Rasmussen - 05.04.2011 - 12:20

2. Introducing Literature Across Frontiers

   An overview of the literary nonprofit organization Literature Across Frontiers.

   Eric Dean Rasmussen - 05.04.2011 - 13:48

3. Cross-­Referenced E-­Lit and Scholarship: The ELMCIP Knowledge Base

   The ELMCIP-Knowledge Base (Electronic Literature as a Model of Creativity and Innovation in Practice) provides researchers, students, and a general audience of electronic literature new ways of accessing existing scholarship in the field. With a special focus on cross-references, the relational database documents the field of research and creative practice in electronic literature. While focusing on the display of social entities and geographical roots, connections between actors and works in the communities field become visible. The strength of the database lies in the variety and cross-referenced nature of record types that feed the database: author, creative work, critical writing, event, organization, publisher, and teaching resources are being documented and referenced. In this talk, I will present suggestions how to integrate the ELMCIP-Knowledge Base into regular writing, research, and teaching practices.

   Scott Rettberg - 20.05.2011 - 13:25

4. The Genealogy of a Creative Community: Why is Afternoon the "Grandaddy" of Hypertext Fiction?

   Michael Joyce’s hypertext fiction afternoon, a story was first publicly presented in 1987, and is generally known as the “granddaddy” of electronic literature (Coover, 1992). It has been anthologised by Norton, is substantially analysed and discussed in dozens of academic treatises and is taught or at least mentioned in almost every course taught on electronic literature. But afternoon is not the first work of electronic literature. Why did this particular work become the progenitor of a community of writers, a common reference point for scholars and students for the next 25 years? There were alternative possibilities. (The case has already been made that interactive fiction is equally a form of electronic literature - but IF is a distinct genre with a distinct community.) Why didn’t bp Nichols’ work “First Screening: Computer Poems” (1984) start a movement? Why are there no cricital discussions of Judy Malloy’s database narrative “Uncle Roger”, published on the WELL in 1986/97? This brief paper will question the role of the mythical progenitor in the creation of a creative communtiy. Why do we tend to imagine a father or “granddaddy” of a field?

   Eric Dean Rasmussen - 08.09.2011 - 16:48

5. Making Connections Visible: Building a Knowledge Base for Electronic Literature

   Developing a Network-Based Creative Community: Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a collaborative research project funded by the Humanities in the European Research Area (HERA) JRP for Creativity and Innovation. Focusing on the electronic literature community in Europe as a model of networked creativity and innovation in practice, ELMCIP is intended both to study the formation and interactions of that community and also to further electronic literature research and practice in Europe. The ELMCIP Knowledge Base is a publicly accessible online database that focuses on capturing core bibliographic data and archival materials about authors, creative works, critical writing, events, organizations, publishers, and teaching resources and on making visible the connections between creative and scholarly activities in the field.

   This presentation will focus on three aspects of the ELMCIP Knowledge Base in particular:

   1) Cross-referencing to make visible the emergence of creative and scholarly communities of practice

   Eric Dean Rasmussen - 13.09.2011 - 15:42

6. Early Authors of E-Literature, Platforms of the Past

   A detailed discussion of the exhibit “Early Authors of Electronic Literature: The Eastgate School, Voyager Artists, and Independent Productions” (now installed at the University of Washington). Grigar looks specifically at the major technological shifts in affordances and constraints provided by early computer interfaces and the ways in which e-literature writers from the mid-1980s to the mid-1990s worked with and against these interfaces. For example, she discusses the command-line interface of the Apple IIe – which was released in 1983 – as an example of an interface that exemplifies an ideology wholly different from the now dominant Graphic User Interface. Thus, the command-line interface also makes possible entirely different texts and entirely different modes of thinking/creating such as that exemplified by bp Nichols' “First Screening” from 1984.

   Eric Dean Rasmussen - 05.10.2011 - 09:19

7. Strange Rain and the Poetics of Motion and Touch

   Mark Sample provides a close-reading of one work that takes advantage of the “interface free” multitouch display: released in the last year, “Strange Rain” is an experiment in digital storytelling for Apple iOS devices (the iPhone, iPod Touch, and iPad) designed by new media artist Erik Loyer.

   Eric Dean Rasmussen - 05.10.2011 - 09:56

8. A Cartography of the Aesthetics and Locality of Forgetting: Preliminary Remarks on Samuel Delany’s Dhalgren, Mark Amerika’s Hypertextual Consciousness [beta-version] and Christopher Nolan’s Memento

   Theodoros Chiotis - 15.10.2011 - 13:52

9. Generating Books: Paradoxical Print Snapshots of Digital Literary Processes

   Since the advent of the internet, advocates and critics alike have heralded the end of the book. George P. Landow observed that hypertextuality and poststructuralism emerged at the same moment, both due to dissatisfaction with the printed book and hierarchal thought. Derrida argued the question of writing could only be opened if the book was closed. Consider, then, the paradoxical position of Vienna-based publishers TRAUMAWIEN. Recognizing that although the vast majority of the text produced by computer systems – protocols, listings, error logs, binary codes – is never seen or read by those who consume it, this text is internal to our daily thoughts and actions and is thus literary. TRAUMAWIEN conceives of the print books it publishes as snapshots of computer generated literary processes which would otherwise be disappearing as soon as they are written. This paper will discuss the iterative processes by which I generated one such book published by TRAUMAWIEN in 2010.

   J. R. Carpenter - 25.11.2011 - 12:05

10. Massively Multireader: A Networked Teaching of House of Leaves across Five Classrooms

    Why read an incredibly complex novel by yourself when you can tackle it with 60 other students across the nation? This presentation will report on a cross-campus experiment in scholarly communication, digital making, and classroom shifting at five public, private, and small liberal arts schools.

    Patricia Tomaszek - 03.12.2011 - 19:00

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