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1. All VR’s a Stage: The Aesthetics of Immersive Mixed Reality Theater

   Virtual Reality presents great promise as a storytelling medium, but rarely delivers on that promise because it is often approached as an offshoot of cinema. Virtual Reality as a narrative medium has much more in common with theater, using multi-modal narrative in a three dimensional space to tell the story. The possibility of multiple users sharing a virtual space simultaneously creates the opportunity for live performance, with one or more performers moving among and around the audience -- immersive theater within a computer-generated setting. This paper examines the aesthetics of this new space for digital performance. 

   We introduce a new type of performance activity, “Immersive Mixed Reality Theatre” (IMRT), which promises exciting possibilities for participatory immersive digital narratives. To explore the potential aesthetics of IMRT we created Holojam In Wonderland (2017), a short play inspired by the work of Lewis Carroll. It was built on the Holojam platform developed by the NYU Future Reality Lab, which enables both performers and audience to walk around with untethered VR headsets within the same room. 

   June Hovdenakk - 05.09.2018 - 15:29

2. Unheard Music: Twine and Its Priority

   When he created Twine, Kris Klimas apparently did not think he was building a hypertext platform, rather an intervention into the broader, perhaps distinct tradition of interactive fiction. By 2009 the hypertext moment may have completely passed, leaving Twine within a different dispensation. Reinforcing this impression, some prominent Twine users have disclaimed any links between their work and that of earlier digital writers, notably the Storyspace contingent, decrying their elders’ commercial publishing model and noting that pay barriers have made turn-of-the-century work inaccessible to them. In thinking about how Twine fits into software culture, we thus face a continuity gap. In technical and (perhaps more arguably) aesthetic dimensions, Twine inherits from and extends the hypertextual experiment; yet there are no formal or institutional connections. Twine works may be in some respects a second coming of hypertext fiction (and many other things as well), but without awareness of prior art.

   Amirah Mahomed - 05.09.2018 - 15:38

3. Hypertropic Story Spaces: Ambient Literature in Practice.

   The Ambient Literature project explores situated digital storytelling as it responds to the presence of a reader. Within an Ambient Literary work, urban space is reconfigured as a paratextual site to be ‘read’ just as we read the form of a book; becoming the site for story.

   The foundation of the study are three commissioned works, each exploring an approach to the design and delivery of a digitally-mediated experience of urban space. These works, successively released in 2017 and 2018, comprise a research- by-practice approach to developing forms for digital writing – ‘It Must Have Been Dark by Then’, ‘The Cartographer’s Confession’ and ‘Breathe’ - each employ different approaches to the positioning role of the reader; the manner in which their presence is implicated in the construction of story; and the specific qualities of that presence within (and around) the works.

   Akvile Sinkeviciute - 05.09.2018 - 15:47

4. Is there a gap in the classroom? Inanimate Alice in Portuguese schools

   There is still a big gap between electronic literature for children and Portuguese schools. Actually, this situation is in contrast with the increasing interest the educational community and publishers show in print literature for children and young adults in Portugal.
   In this paper we aim to develop the steps that the team from the project Inanimate Alice: Translating Electronic Literature for an Educational Context (Centre of Portuguese Literature at the University of Coimbra) took in order to give Portuguese students the opportunity to experience e-lit.
   As our ultimate goal is to introduce e-lit in Portuguese schools, the team has translated the first five episodes of Inanimate Alice and is now working on the translation of the Pedagogical Guidance, created by Bill Boyd.
   To accomplish that, we needed to find financial support to publish the Portuguese version of the series. So we contacted the two biggest education-oriented Publishing Companies in Portugal, but they rely a lot on the ministerial documents and they barely dare to innovate, as it is safer to publish what the Ministry of Education (ME) recommends schools, teachers and students to buy.

   Li Yi - 05.09.2018 - 15:48

5. 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

6. 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

7. 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

8. 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

9. 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

10. 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

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