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1. Digital Games: The New Frontier of Postmodern Detective Fiction

   The tropes of the detective genre have been challenged, subverted, re-appropriated by authors such as Jorge Luis Borges, Robert Coover, Thomas Pynchon, or Paul Auster, establishing what could be considered a new strain of postmodern detective fiction. In these stories, solving the case is not central to the story, and what the detective searches transforms or is derailed by becoming a discovery of something completely different. In some cases, the detective, along with the reader, explores an encyclopedic space in such a way that these stories have already been connected to hypertextual literature (Rosello 1994).

   Hannah Ackermans - 27.11.2015 - 15:09

2. Live Performance, Voicescapes, and Remixing the Under Language: Sounds and Voices at the End(s) of Electronic Literature

   This panel responds to the conference theme: “The end(s) of electronic literature” with three approaches, in theory and practice, for the use of sound as the basis for new forms of electronic literature.

   These approaches are sound composition for intermedia, digital manipulation of the voice in new media writing, and remixing the under language of pioneering works of electronic literature. Each panel participant will present and discuss one of these different approaches.

   Historically, sound has been overlooked, or worse, ignored, as a component of electronic literature. The “end(s)” of e-lit explored in this panel may provide new and interesting opportunities, however, to investigate and ameliorate this oversight.

   In brief, this panel argues that live coding and live algorithms for generative text and sound, along with digital manipulation of voice, offer new approaches to new media writing. These can also be mixed or remixed with previous content and/or techniques to provide new forms of e-literature.

   (Source: ELO 2015 Conference Catalog)

   Hannah Ackermans - 27.11.2015 - 15:14

3. On Landscape as an Interface: Textuality, Walking Practices and Augmented Location in Notes for Walking

   Since the early 2000s, media artists have explored the potentials of location-based technologies, developing locative media projects “in which geographical space becomes a canvas” (Hemment 2006). Artists both within and without the locative field, such as Teri Rueb (USA), Blast Theory (UK), Jeremy Hight (USA), Janet Cardiff (Canada), Chris Caines (Australia) and Paul Carter (Australia) have developed creative works involving narrative, textuality and place-based storytelling within a site-specific context. In many of these works, real world spaces are annotated and augmented with a range of artistic contents – primarily audio and/ or textual – and mediated by mobile devices.

   Hannah Ackermans - 27.11.2015 - 15:18

4. Locative Audio Play

   The paper describes and reflects upon a research and development project specifically related to a sound installation – Listener (Hoem 2014) – where the purpose has been to examine artistic possibilities when staging an auditive user experience, via micro positioned mobile devices. Listener is augmenting an existing environment, adding a fictional layer, using sound as the only expression. The auditive text is experienced through headphones, connected to a location aware mobile unit, which is positioned by “beacons” (Bluetooth LE transmitters).

   Listener tries to relocate an environment, from Bergen railway station to the Bergen University College’s premises, using sound. To this environment we have added six fictional characters, and the user can listen to these characters’ cell phone calls. The text has to be experienced by moving around, as the sounds corresponds to the user’s position and orientation.

   Hannah Ackermans - 27.11.2015 - 15:25

5. The Ends of Publishing

   If the media was the message for McLuhan in the 1960s, then audio-visual publishing platforms like YouTube and Vimeo have become a message today. In his 1998 article entitled “Database as Symbolic Form,” Lev Manovich fails to foresee the socially hypermediated turn of the new century when he argues that “database and narrative are natural enemies. Competing for the same territory of human culture, each claims an exclusive right to make meaning out of the world” (p. 7). From a purely mathematical, logical viewpoint, they do at first seem at odds, since the database is the superstructure and the narrative media files are the objects oriented within. For example, a database might house narrative-less stock photos or sound effects as easily as it does an audio-visual story. The (early) media database seems indifferent to its contents and does not seem to be able to tell a story. Likewise, the narrative within a digital movie file is indifferent to its matrix-host, because the “story” operates regardless of whether you play the film on a DVD player, digital projector, or a YouTube download.

   Hannah Ackermans - 28.11.2015 - 13:51

6. Watching Textual Screens Then and Now: A Cinema/E-Lit Conversation

   Gene Youngblood’s Expanded Cinema (1970) suggests a coming art in which “the computer becomes an indispensable component in the production of an art that would be impossible without it” and in which “the machine makes autonomous decisions on alternative possibilities that ultimately govern the outcome of the artwork.” Much of what Youngblood presaged has been fulfilled in the field of electronic literature, which has a significant unexplored areas of overlap with experimental cinema.

   Hannah Ackermans - 28.11.2015 - 13:54

7. Fill in the Blanks: Narrative, Digital Work and Intermediality

   Bleeding Through: Layers of Los Angeles 1920 – 1986 is a digital work produced by the Labyrinth Project Research Center of the University of Southern California. Part paper, part DVD-ROM, part real, part fiction, it is based on an unsolved mystery, and unfolds the story of Molly, an Irish immigrant who moved to Los Angeles in 1920. She was at the heart of an investigation in the late 50’s early 60’s as she was the main suspect in the death of her second husband Walt. The project gathers hundreds of different data types like maps, pictures, texts, newspaper articles, books and movies, through which the user navigates in order to ultimately, resolve the crime. But how does the user build an interpretable narrative through this hypermedial database?

   Hannah Ackermans - 28.11.2015 - 13:58

8. The Poets' Dream Database

   In December of 2013, I mailed blank journals to thirty poets and asked them to record their dreams for two months and return the journals to me. I asked that they record the dreams themselves rather than their interpretations, relying on language, voice, and syntactical rhythm to emerge as distinctive markers. From the dream journals I compiled the dreams into a spreadsheet database, setting the linear retelling of the dream along the horizontal axis (rows) in chronological order, color-coded by poet. Ciphering the dreams into single cells was the true editorial work of the matrix. Even as poets were creating their own patterns, I was reorganizing dialogue, bisecting idioms, segmenting narrative apparitions. Phrases and snippets of these dreams were now decontextualized into raw form, phrases and words shaken out of their former constellations to become single pure poetic units. After the dream journals had been reorganized into the matrix, they could be used to generate new poetic material.

   Hannah Ackermans - 28.11.2015 - 14:04

9. Murmurs, Open Corpus of Online Written Poetry – The End of Isolated Poems

   Murmurs seeks to gather and link texts written with a poetic intention and available in the net in order to present them in a consistent form within the outline of a hypertext. These texts will be identified by an algorithm and interconnected through semantic links generated with the use of coincident words.

   Thanks to this process, the texts with poetic format, already published online, will become a sole extensive and surfable piece that can be analyzed and can receive feedback from blogs, twits, and by any other indexable means. This way we seek to generate a piece of e-poetry by uniting those expressive texts in the net that cannot individually be classified as e-poetry. In order to achieve this we will use algorithmic processes, databases, crawlers for indexing, Big Data analysis, all presented as self-generated hypertexts.

   The study of these texts through systems of computer linguistics will allow finding coincidences in the use of language with expressive intentions in the net. In a second moment, an API (application programming interface) will open and allow the free processing of the information gathered.

   Hannah Ackermans - 28.11.2015 - 14:09

10. The Practice of Research: A Methodology for Practice-Based Exploration of Digital Writing

    In the fields of literature, creative writing, and media studies, creative practice and critical analysis have long been parallel and complementary activities; the poet’s creative experience gives her unique insights into the poetry of others. Direct experimentation for the purposes of critical research, however, has long been relegated to science. Practice-based research, also called action research, is a tried and tested methodology in medicine, design, and engineering. While it has always been present to some extent in the arts and humanities, though generally restricted to practice and research, in recent years artistic practice has developed into a major focus of research activity, both as process and product, and several recent texts as well as discourse in various disciplines have made a strong case for its validity as a method of studying art and the practice of art.

    Hannah Ackermans - 28.11.2015 - 14:28

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