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Landscape (Re)-Visioned
Landscape is an integral part of our experience of the moving image. The cinematic landscape can become a protagonist in its own right, imposing its own visceral visual force on the story. Television was long denied this possibility, but new technologies such as high-definition standards and large flat-panel display allow video to embrace the cinematic wideshot and the transcendent landscape. Digital post-production capabilities give moving image artists deep control over this landscape. It develops a plasticity that reflects the artist's goals—either to reflect our own landscapes, or those of a different storyworld drawn from the artist's creativity.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 09.01.2013 - 14:06
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The (Vis)poetics of Jim Andrews: 'A Pen'
"A Pen" is a Letterist exploration of text as a tool for writing, rather than as the result of writing. It is about the interpenetration of code and language in programmable media to imbue letters and words with behaviors and allowing poems to emerge from these. It is about creating tools for readers to become involved in the process of shaping the poems that arise from these processes. It is the latest expression of Jim Andrews' exploration of the visual characteristics of written language, and the capabilities of computers to both render and reinvent statuesque letters as dancing signifiers.
Scott Rettberg - 09.01.2013 - 14:15
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Subjective Boundaries: Shelley Jackson's Hypertexts and the Terrain of the Skin
This presentation traces connections between Shelley Jackson's hypertext, "Patchwork Girl" (1995), and her more recent "Skin" Project (2003-present): a 2095 word short story published only once, tattooed word-by-word onto the bodies of applicants who have elected to become words, henceforth understood as embodying these words. Both works are interested in consequential relationships between living/dying bodies and texts: what it means to embody a text, what texts do to the body. Through avoiding traditional print media, both pieces also call into question the ways we read or write and the future of the book in the age of digital media.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 09.01.2013 - 14:28
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(R)Evolutionary Communication: Defining and Refining Digital Literature, Art and Storytelling
As an educator as well as Director of Digital Media Studies at the University of Detroit Mercy, my pedagogical and personal interests lie in how to use media to incorporate inter-disciplinary studies; to use sound, images as well as visual and narrative compositions to communicate multi-dimensional ideas, passions and concepts. In relation to this inter-disciplinary approach, I incorporate the concept of "mixing" to weave together space, design, technology, story-telling and critical discourse. One of the concepts I try to reinforce is that 'space' includes the psychological as well as the physical. In addition, I teach digital media students that "design" is the intentional approach to choreograph the experiential and that digital technology is a tool for exploring these ideas. Accepting this, I challenge the students to consider: how does the user/viewer experience and process the interaction between digital media and the "narrative" of the everyday?
Scott Rettberg - 09.01.2013 - 14:35
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The Machinimatic Moment
"The Machinimatic Moment" discusses a type of filmmaking that uses videogame engines (commonly referred to as machinima). I contend machinima exists within a liminal space between a number of diapoles including: production/consumption, play/cognition, and synthesis/critique. While much of machinima can be considered self-referential in that it consistently remarks upon the game itself and, in many ways, its limitations, other productions reveal sophisticated, compelling stories that are neither game nor traditional filmic narrative. I conclude by arguing that its liminality gives machinima distinctive and interesting qualities.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 09.01.2013 - 14:41
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ELIZA Revisited
This presentation reconsiders one of the most famous works of electronic literature: Joseph Weizenbaum'sEliza/Doctor. Created in the mid-1960s, this conversational character's success led Janet Murray to name Weizenbaum "perhaps the premier" literary artist in the computer medium. Such evaluations, however, don't take into account what happens during the playful engagement that the system's freeform textual interaction encourages: a breakdown that reveals the shape of the underlying processes. An alternative to this is extremely constrained interaction, which can help maintain the illusion. But a more exciting direction is to design processes that reward readers as they are revealed.
Scott Rettberg - 09.01.2013 - 14:47
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Narrating Artificial Daydreams, Memories, Reveries: Toward Scalable Intentionality in Expressive Artificial Intelligence Practice
Literary fiction works are often driven by the emotions and personalities of their characters. In this project we explore such subjective human dimensions through a text-based computational narrative work centered on the notions of daydreams, memories, brief reveries – hallmarks of literature invoking stream-of-consciousness techniques. As central to our work, we present the novel notion of "scales of intentionality," techniques allowing user interaction to vary the narration of a character's intentionality and agency within a story world. This notion allows our work to exist simultaneously as a critical technical practice and an expressive cultural production.
(Source: Authors' abstract, 2008 ELO Conference)
Scott Rettberg - 09.01.2013 - 14:54
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Electronic Literature as an Information System: A Foundational Framework
Electronic literature is a term that encompasses creative texts produced for printed media which are consumed in electronic format, as well as text produced for electronic media that could not be printed without losing essential qualities. In this paper we propose that works of electronic literature, understood as text (with possible inclusion of multimedia elements) designed to be consumed in bi or multi-directional electronic media, are evolving to become n-tier information systems. By "n-tier information system" we understand a configuration of components clearly separated in at least three independent layers: data (the textual content), process (computational interactions) and presentation (on-screen rendering of the narrative). In this paper, we build two basic arguments. On the one hand, we propose that the conception of electronic literature as an information system exploits the essence of electronic media, and we predict that this paradigm will become dominant in this field within the next few years. On the other hand, we propose that building information systems may also lead in a shift of emphasis from one-time artistic novelties to reusable systems.
Hannah Ackermans - 06.04.2016 - 13:41
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Literary Computation: The Role of Computers in the Construction of Literary Artifacts
Over the last decades, the progressive adoption of information systems (IS) by artistic fields deemed to be the exclusive domain of creative humans provides some insights as to what the future may hold. The question addressed in this paper is: has literature missed out in this race to explore new horizons with the aid of the new technologies? In an attempt to answer it, we will start by studying how the adoption of IS came about in some of these fields, and we will try to postulate which particular ingredients may have played significant roles in turning little steps of modernization into revolutionary steps for the field. Then we will address the issue of which current advances in IS may be waiting to revolutionise literature, and what are the conditions that must be fulfilled for this revolution to come about.
(Source: ELO 2008 site)
Hannah Ackermans - 06.04.2016 - 13:45
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Examining The Information Systems Of The Electronic Literature Collection
The Electronic Literature Collection proves that e-lit is a multiplicity that cannot be easily categorized. The information systems framework offers one coherent approach that applies to these works beyond the characteristics of any one element: text, image, sound, or interactivity. In this talk, I will demonstrate the ways in which educators and students can apply this framework to pieces as varied as Michael Joyce's "Twelve Blue," Jim Andrews' "Stir Fry Texts," and Maria Mencia's "Birds' Singing Other Birds' Songs." When read as information systems, these works not only reveal new generic differences but also present themselves as models for future works.
(Source: ELO 2008 site)
Hannah Ackermans - 06.04.2016 - 13:50
