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1. Collaborative World Building in Networked Classrooms: Experiments in Electronic Writing and Digital Dissertations

   This paper discusses my theory of incremental storytelling, a methodology for teaching fiction writing that combines gaming, collaborative writing, and digital storytelling. Most creative writing courses employ some variation of the traditional workshop format where students write and critique each other’s fiction, often using published work by established writers as models for emulation. While this approach has its merits, it typically presents traditional print culture as superior to other narrative forms and reinforces romantic notions of the lone artist toiling in isolation on a muse-inspired work of genius. Incremental storytelling works in opposition to these assumptions, recasting the creative writing classroom as an inherently collaborative space where modest contributions from each participant results in an exponentially richer fictional environment. (Source Author Abstract)

   Sumeya Hassan - 19.02.2015 - 15:42

2. Mushfaking It: How a Neophyte Makes Do (and Does Well) TeachingElectronic Literature

   In this presentation, I will describe how a neophyte to electronic literaturemushfakes her way through teaching a class which introduces diverse students toelectronic poetry, interactive fiction, and hypertext narrative. Further, I will argue that although I am neither an expert critic or working author of electronic literature, the mushfaking that I and my students do as we read and attempt to composeelectronic literatures (using software available to us rather than that commonly used by "real" e-lit authors), allows us to develop a deep meta-awareness of these genres and how they relate to other genres with which we are already familiar. This argument will be supported and illustrated by excerpts from students' written responses and examples of student-authored electronic literature. Additionally, I will posit that the mushfaking we do reenacts the experimentation of many e-lit authors who work(ed) to create new forms. Therefore, mushfaking is an effective model for the teaching of electronic literature; helping to develop audiences for and potential authors of these genres. (Source Author Abstract)

   Sumeya Hassan - 19.02.2015 - 16:01

3. Fourteen recipes for a sonnet

   This paper discusses a semester-long classroom project in which senior seminar students were required to take Shakespeare’s Sonnet 14 and convert it into various media objects and texts. The assignments made use of Ian Bogost’s “procedural rhetoric” (“a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation”), assigning tasks based on the core concepts of “encoding” and “algorithm.” Some objects were electronic (music, twitter feeds) while the majority were physical objects, but they all made use of a procedural rhetoric sketched out by the original shape of the sonnet itself and the long tradition of scanning poems. In doing so, the objects produced force us to ask: where, exactly, do we “hold the light”? Is it e-lit if there’s no “e”?

   (Source: Author's Abstract)

   Sumeya Hassan - 26.02.2015 - 21:01

4. Teaching Creative Writing with Python

   The course concerns the classic tension in poetry between decontextualization and juxtaposition: deciding what a text’s constituent elements are, breaking the text into those elements, and then bringing them back together in surprising and interesting ways. Students are taught not just about string processing and text analysis, but also about the poetic possibilities of using those techniques to algorithmically build new texts. Each semester, the course culminates in a live performance, in which each student must read aloud for an audience a text that one of their programs has generated.

   (Source: Author's Abstract)

   Sumeya Hassan - 26.02.2015 - 21:16

5. Do You Feel Like A Hero Yet? Externalised Morality in Video Games

   Video games have a long tradition of including elements of moral decision making within their ludic and narrative structures. While the success of these endeavours has been mixed, the systems used to express moral choices within a game have grown more popular. However, these morality systems are inherently restricted and limited by ludic and business considerations. Coupled to this is the concept of the “magic circle” in which games are considered to be morally discontinuous spaces where the normal rules of what actions are and are not permitted are different. Moral choices then become flattened down into mere narrative flavouring rather than a reflection of an individual’s ethical makeup. Moral choices within games are thus shallow and lack the ability to truly offer us an opportunity to reflect on the actions we have taken. Rather than offering insight, they instead cheapen and simplify nuanced topics and concepts.

   Eivind Farestveit - 12.03.2015 - 15:05

6. Archiving Ephemera – The Case of Netprov; Graphic Design in Re-Presenting Electronic Literature

   How will electronic literature look 100 years from now? This question is two-fold: 1) How will literary projects of 2014 that are written/performed in social media and short-lived web platforms greet the eyes of future readers? 2) what will theelectronic literature in current use by the people of the future look like to them?
   In this talk I will focus on consideration of the first question and speculate briefly on some clues about the second.
   “You should make it look as much like Twitter as possible!” I have already heard this admonition several times in the course of beginning to create archives for some 2013 netprov projects — Center for Twitzease Control, Tournament of la Poéstry, SpeidiShow. As a graphic designer something makes me uneasy about this. Why? Because Twitter’s graphic designers are . . . how to say this diplomatically? . . . doing their best under a lot of pressure. From a historicalgraphic design point of view, the look of those hugely popular digital applications is adequate, but definitely not optimum, not nearly as aesthetically or functionally strong as it could be.
   

   Elias Mikkelsen - 12.03.2015 - 15:07

7. Artistic and Literary Bots in Social Media

   This roundtable discussion will explore the practices and poetics of a re­emerging genre in
   electronic literature and digital culture: the bot. Bots are a kind of generative e­literature,
   producing poetry in many forms (haiku, couplets, sonnets, and more), using a variety of
   techniques (n­grams, Markov­chains, templates, variables, etc), and datasets (self­contained,
   data mining, streaming APIs, user­generated, dictionaries, and more).
   The history of this e­lit genre goes as far back as 1966 with Joseph Weizenbaum’s ELIZA, the
   original chatterbot that informed subsequent interactive fiction, and breathed life into video game
   characters ever since. With the rise of social media, big data, and distant reading methods, bots
   have become increasingly popular. A distinguishing feature of these bots is that they operate in
   real time, publishing content on a schedule or responding to specific conditions, drawing data
   from large and streaming datasets via APIs, filtering search results, reshaping or transforming it,
   and/or deploying its content through social media, blogs, or webpages.

   Ole Samdal - 25.11.2019 - 17:00

8. Preserving Literature through Documenting Readers’ Experience: The Pathfinders Project

   Preserving Literature through Documenting Readers’ Experience: The Pathfinders Project was presented at the 2014 ELO conference under the category Preservation and Publishing.

   Ole Samdal - 25.11.2019 - 18:23

9. Developing for New Platforms Roundtable Discussion

   Developing for New Platforms Roundtable Discussion was held at the 2014 ELO conference.

   Ole Samdal - 25.11.2019 - 18:33

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