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Reading Apps: An Exploratory Research on Children’s E-lit Reading Profiles
What kind of readers are we going to find with children’s electronic literature? Are“strong” and “weak readers” useful tags any longer? Are these digital reading skills and literary behaviors equal to those required with analogic texts? This paper presents an exploratory research on different children’s electronic literary reading profiles. We will analyze the affective relations of four 11–12 –year-old children with the digital works, their interpretative tendencies and their consideration of the literary properties that define this new literary paradigm.
Hannah Ackermans - 03.11.2015 - 11:43
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Between Paper and Touchscreen: Building the Bridge with Children's Book
E-books, e-book readers, touchscreens and other types of displays do not belong to the realm of fantasy any more, but are an indelible part of our reality. Interactivity is becoming a key ingredient of electronic publications. There are several projects dedicated to children that allow the practicing of important literacy skills, such as language development, story comprehension, sense of the structure, and collaboration in storytelling by playing and experimenting. These activities are crucial to a child’s development.
Hannah Ackermans - 10.11.2015 - 09:28
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To Teach Reading by Playing (with) the Literary Wor(l)d: On Kid E-literature and Literacy
One of the e-literature development effects is that the literary theorists more and more frequently take into consideration the role of literary interfaces (maybe we can even talk about the “interface turn” in literary studies?). Many theorists (e.g. Pressman, Hayles, Drucker or Polish theorists of liberature/liberacy) show that analogue literary forms are neither limiting nor worse or less creative than electronic ones. Both can offer readers literary texts that should be used (played, interacted), works that arise “on demand” and tell the story with various code/media/modes. Both can differ from the traditional view of literary communication.
Hannah Ackermans - 10.11.2015 - 09:33
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Digital Artists' Books and Augmented Fictions: A New Field in Digital Literature?
Digital literature is enjoying profitable and exciting times, made possible by emerging trends in digital publishing, as well as a growing enthusiasm on behalf of readers, publishers and authors for all forms of digital literary productions. These new players, who often come from traditional publishing, are discovering with great interest the literary and creative potential offered by touchscreen mobile devices. They are also exploring emerging new ways of writing and conceiving literary objects designed to be read on tablets, defined as “digital books”.
While homothetic books for e-readers such as .pdf and .epub files only imitate the characteristics of paper books, digital books conceived as “augmented” or “enhanced” combine text, sounds, and fixed or animated images in order to create a heterogenous work meant to be read, watched, handled, listened to and experimented with.
Hannah Ackermans - 10.11.2015 - 09:45
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Literary Interaction in the Age of the Post-Digital
Simultaneously with the mainstreaming of digital text in the form of e-books and the parallel normalizing of participatory hypertext in the form of social media, we see a growing interest in alternative new forms of printing and book production, including artistic explorations of the book and its cultural historical forms. As part of what has been labeled the post-digital, artists and authors explore dominant and alternative models of digitization in combination with a renewed understanding of the materiality of the book (see e.g. Ludovico 2012, Cramer 2013, Lorusso 2013-, Andersen and Pold 2014). This post-digital literary interest can be understood as an interest in how the materiality of the book is transformed and reinvigorated because of the digital revolution, but also as a critical and media archaeological reflection of the current state of the digital revolution. In this way, the post-digital explores and questions what literary media are becoming after the hype of the digital revolution has passed. In short, it resets the hype before exploring the literary media again and allows us to begin exploring the qualities of the literary across and between media.
Hannah Ackermans - 10.11.2015 - 09:50
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Touch and Decay: Tomasula's TOC on iOS
TOC's promotional tease – “You’ve never experienced a novel like this” – became awkwardly literalized when, after a Mac OS update, I could no longer open the novel. The tease inadvertently highlights the obsolescence that locks away so many works of electronic literature from present day readers. Even an exceptional work like TOC – exhibited internationally, prize-winning, the subject of many scholarly articles, underwritten by a university press – is no less subject to the cycles of novelty and obsolescence that render many works of electronic literature only slightly more enduring than a hummingbird. “The accelerating pace of technological change,” N. Katherine Hayles observes, “may indicate that traditional criteria of literary excellence are very much tied to the print medium as a mature technology that produces objects with a large degree of concretization”.
Hannah Ackermans - 10.11.2015 - 09:57
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Keleti Blokk Blokki Facebook Game as an Example of Non-fiction Literary Flash
Keleti blok blokki (Hungarian for ‘the apartment blocks of the Eastern Bloc’) is a Facebook social game in which players try to guess the geographical location of apartment blocks featured on screens from Google Street View and other street view services submitted by one of the participants. The game counters the popular belief that apartment blocks looked all alike from Eastern Germany all the way to Vladivostok. In the wider context, the game challenges the perception of the countries forming the Eastern Bloc as one monolith, described by the Western rulers as “the East”.
The aim of the game is to guess in which country the sumbmitted block is located. As the name, Keleti blok blokki, suggests the buildings can come from any location within the keleti bloc. The photos are censored by the submitting player for obvious clues that would make guessing the location too easy. The most frequently erased elements include road signs, signs in general, air conditioners, and national symbols. What remains is architecture and details (curtains, elevation colors, sidewalk curbs), and the general visual context.
Hannah Ackermans - 10.11.2015 - 10:05
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Protest Bots
With half a century’s worth of profound social and technological change, the 1960s protest movement is far removed from today’s world. Networks, databases, video games, social media, and the rise of algorithmic culture and the sharing economy have irrevocably altered our landscape. What, in this world, is the 21st century equivalent of that key feature of the sixties protest movement: the protest song? This paper argues that one possible answer is the protest bot, a computer program that algorithmically generates social and political critiques on social media.
Using Habermas’s imperfect account of the public sphere as my starting point, I suggest that five characteristics define protest bots—or bots of conviction, as I also call them. Bots of conviction are topical, data-based, cumulative, oppositional, and uncanny. After explaining these five characteristics, I explore several well-known and lesser-known bots on Twitter, showing how they are or are not protest bots. Throughout this paper I adopt a critical code studies approach, diving into the procedural DNA of several bots of conviction of my own creation.
Hannah Ackermans - 10.11.2015 - 10:07
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"Learn to taste the tea on both sides": AR, Digital Ekphrasis, and a Future for Electronic Literature
This presentation will link the trope of “digital ekphrasis” (as articulated by Cecilia Lindhé) and the developing of platforms for “augmented reality” to argue that one probable future for electronic literature lies in the interweaving of “born digital” and print texts in ubiquitous layers of mediation. It will examine three instances of “augmented” print – the multimodal performance of ekphrastic poetry, the AR comic book Modern Polaxis, and the AR epistolary romance Between Page and Screen – all of which demonstrate the power of “intermediation” (Hayles) and foster a critical perspective on it. Looking at these amalgamations of print and digital textuality through the lens of digital ekphrasis reveals that electronic literature will most likely always arouse ambivalence, just as the trope of ekphrasis in traditional media has, for better or worse, provoked a sense of the uncanny through its interweaving of visual, auditory, tactile, verbal, or haptic experiences.
Hannah Ackermans - 11.11.2015 - 16:12
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Conditions of Presence: The Topology of Network Narratives
The development of the cultural field of electronic literature faces significant challenges today. As everyday network communication practices and habits of media consumption change, they impose expectations on how narratives are expressed, experienced and interacted with by readers and users. These expectations produce an imperative to accommodate additive and emergent participation processes that influence how narratives are structured. It is increasingly important to strike a balance between authorial agency and user generated content, between the core creative vision of a cultural creator and the contributions of casual participants, between narrative coherence and improvisational interactions. Resolving these antinomies is crucial in order for the field of electronic literature to support both the development of popular digital fiction and a continuing tradition of experimental literature.
Hannah Ackermans - 11.11.2015 - 16:18
