electronic literature

Description (in English)

Tenure Track is a postmodernist critique of 21st-century academia in the form of a simulation game. In the vein of satirical games like Cow Clicker—a product of “carpentry,” or a strategy for creating philosophical, creative work, according to its designer Ian Bogost—Tenure Track also borrows game mechanics from popular puzzle simulators like Papers, Please, merging the finite potentiality of a critical text with the lightheartedness and non-prescriptiveness of play. Additionally, the simulation game as a genre harkens back to philosophical toys of the 19th century, such as the thaumatrope, the purpose of which was demystification through wonderment. The proposed poster would include imagery from the game, as well as links to interactive components (gameplay footage, demos) and brief descriptions of the mechanics and concept of the game. 

Developed in Unity for desktop and VR over the past year, Tenure Track visually consists of a 3D re-creation of a nondescript office, viewed from a first-person perspective, with every object in the space being manipulable. The goal of the game is to achieve tenure by completing research, grading papers, and communicating with students and administrators. Much of this “work” is mediated through a variety of simulated digital platforms, which are accessed via a desktop monitor and a mobile phone. The centering of platforms underscores the degree to which they are essential to what constitutes labor. Post-pandemic, this can be read as referencing a potentially obsolete “platform”: the physical office. 

As the player performs a litany of menial tasks over the course of a series of seconds-long days, they are interrupted constantly by notifications and knocks at the door. Over time, this produces a simulacrum of the frantic yet mundane administrative role many modern-day academics find themselves “playing” as they strive for the promised land of tenure. The sequence of predefined yet somewhat open-ended steps in the tenure process lends itself to this kind of gamification, which resists the interpretation of a prescribed process as fair or logical. The many small but cumulatively important decisions players make imparts a feeling of decision fatigue common to most knowledge work, playing with the assumption many outside of academe have of the professoriate as belonging to an exceptional, noble profession. What is not known until the game’s conclusion is that, once a player reaches one of several possible “endings,” the days continue to loop continuously. 

While the game rewards literacy of both games and academe by subverting the former and reifying the latter, arguably the most satisfying interactions are the ones that are, in reality, the most disruptive (dropping the mobile phone and cracking the screen) or least salient (disposing of empty beverage containers in a recycling bin). Those who misunderstand the tenure track job as a stairway to heaven, or even as fundamentally different from other types of white-collar jobs, stand to see it in an uncanny light. 

 

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By Milosz Waskiewicz, 27 May, 2021
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Abstract (in English)

We will discuss the issue of the platformization of culture from a Latin-American perspective and decolonial thinking. Platforms strive on the automated algorithmic administration of access and reproduction of creative works (text, sound, video, o code-based). The common trait of current platform culture is the maximization of profit by means of garnering data and attention in order to capture more attention (and more data). In this context, is there any space for pursuing artistic digital activism and decolonial e-lit? The presentations in this panel will try to answer this question. The panel will be Spanish-English based in a sort of tentative of linguistic decolonization of e-lit field:

Agustín Berti: The Country and the Platform, or The Issue of NanofundiaThe issue of latifundia and the consolidation of vast productive land owned by a very reduced minority of wealthy elites has been one of the distinctive traits of lasting inequalities in Latin-American countries. This has seemingly nothing to do with digital culture, and yet this push forward the concept of nanofundia as a continuation of the reprimarization of production in the developing world and the digital extractivism of platform economy described by Pasquinelli and Joler. If there is any chance of reverting this situation in terms of decolonial geopolitics of electronic literature, the struggles will be about national and regional digital infraestructures and the local regulations over the globalized attention economies.

Anahí Re: It Will Be Difficult or Won’t Be. Challenges of Latin-American E-Lit.Platforms that nowadays enable large scale production and distribution of third generation e-lit (Flores), and even this kind of e-lit itself, promote a specific temporality. Doing so they guarantee the permanence of users in social media. What is at stake is clearly our “available attention” (Stiegler). Following Stiegler’s organological perspective, this presentation will focus on why “the difficult” (Tisselli/Torres) is, and should always be, an emancipatory alternative within Latin American poetic industries.

Claudia Kozak: Occupy the Platforms. Scope and Limitations of Decolonial Contemporary E-Lit.This presentation will analyze cases of Latin American e-lit that particularly engage to deconstruct and/or occupy contemporary platform culture. Being these cases either strictly experimental e-lit based on “the difficult” (Tisselli/ Torres), or digital activism in indigenous languages or even attempts of decolonial mixtures between experimentalism and third-generation platform e-lit, there is an opening for discussing how e-lit might temporarily occupy contemporary platforms without being (completely) absorbed by their agenda.

Leonardo Solaas: The Pull of The Banal: Digital Systems and Programmed FreedomInternet platforms are based on a perfect formula: they provide us with the endless satisfaction of choosing, while they get to know all about us and better anticipate our tastes and desires. They create for us dazzling worlds of perfect visibility, while their own logic recedes into the unreachable depths of an ever-blacker box. We will analyze how the space of possibilities generated by digital systems deploys a field of power under the guise of freedom, and how users can adopt three positions with regards to it: integration, rebellion, or critique. 

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By Hannah Ackermans, 27 May, 2021
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Virtual Book launch of Electronic Literature as Digital Humanities: Contexts, Forms, and Practices. by Dene Grigar and James O'Sullivan.

By Lene Tøftestuen, 26 May, 2021
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Today, Digital technology not only helps its users in every walk of life to address human limitations but also to control and direct their ideologies. Hence, the novel concept of advanced Transhumanism is prevalent. This Study seeks to explore the possibilities of conducting research in the field of Human Language and Digital Technology amidst related fields. The article presents theoretical concepts and methodological tools from multimodal analysis that allow the readers to gain new insights into the study of electronic literature and the difference between a monomodal and multimodal children literature. The data for this article comes from Grimm brothers’ transcribed tale named “Little Red Riding Hood” directly from fairy tale narrated by their villagers and the digital novel “red riding hood” from the 1st Collection of Electronic Literature. The discussion and analysis part of the project explains how various modes can be used to convey the underlying meanings clearly and create a single masterpiece which is suggested as a new form of literature.Since the definition of literature does not match with this innovative form, the article suggests that it should be revised again, which says that literature is anything written, in an artistic form of human expressions in an organized manner. But, as far as a multimodal piece of work is concerned, it is a combination of distinct (mono)modal structures such as sounds, visual images, spatial and textual evidence. These all modes are shown in red riding hood specifically and the other literary works in the 1st Collection of Electronic Literature in general.Since, in Pakistan, the investigations in this field are rare so it provides the basis for future studies in the field of human language and digital technology and other above mentioned related areas. Also, this research can open up new ways for immersive literacy and for the researchers to focus on the innovative immersive literacy, its need, impacts, social consequences, and other possible transformations it requires for the born-digital generation.

(Source: authors' own abstract)

By Lene Tøftestuen, 26 May, 2021
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In Electronic Writing, what often becomes more essential than the narrative is how the computational elements are brought into the fold of storytelling with the text at its centre (Heckman and O’Sullivan 2018). It is true but not uniform across all spaces of creative production. Collaborative efforts like We Are Angry | Experience have been very successful in using the online space to deliver a powerful message. But, in a space like India, the digital divide also dictates the mode of storytelling, especially when it comes to solo ventures. When we think about Indian online narratives, the most common instances reach us via social media (Shanmugapriya and Menon 2018). Despite its reach, the extent of experimentation is rather low. That is why much of the writing can also be found on blogs hosted by websites like WordPress or Blogger. Yet, from personal experience of online writing, as most of the readership is found on mobile phones, the amount of media that can be incorporated is also limited. It is limited because, in a space like India, many people still do not have access to a standard internet connection to view the multimodal elements.My paper proposes to address how individual storytellers, i.e., the people who write, design, and publish narratives all by themselves, without any collective or institutional support, who are forced to be minimal, go about telling stories in the online mode. My central research questions would be to understand: 1) the markers of Indian-ness (if any will vary from a case to case basis as it is impossible to reduce a culture to certain markers) in the narratives 2) the socio-cultural background of people who are telling these stories 3) the platforms they are choosing to tell these stories. To gather the data, I intend to float a short survey in various research and writing communities and use the dra. ft | Future of Text (@dra_ft_) • Instagram photos and videos archive to develop my hypothesis. Via analysis, I hope to understand the type, mode, and platform(s) most accessible for storytelling in the Indian online space.

(Source: author's own abstract)

By Lene Tøftestuen, 25 May, 2021
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“Modernism is a history of infections: by political movements; by mass culture and consumerism; and now by the Internet, information technology, and interactivity. The openness to exteriority and its infections is an essential characteristic of the modernist inheritance, and that inheritance is the will to reveal the Other within oneself, to become Other, to become infected by Otherness.”Boris Groys, "In the Flow"The “Art in Quarantine” (AiQ) project [https://wreading-digits.com/art-in-quarantine/] is an online gallery launched after an international Open Call for (e-)mail art and art via email by cyberliterature collective wr3ad1ng d1g1t5 [wreading-digits.com], in the first 40 days that followed the Covid-19 pandemic status. Currently hosting more than 900 artworks, the AiQ project aimed to facilitate a safe place for artistic expression in the aftermath of one of the most restrictive and impactful periods of the COVID-19 pandemic so far.Reminiscent of the viral-like behaviour intrinsic to mail art culture and community(ies), AiQ adopts several principles of mail art to the digital sphere, namely networking and collaborative practices as a form of disrupting conventional art channels. Functioning as a net art installation, it includes an interactive digital map in which visitors can track the arrival of artworks by day and location. Symbolically subverting a logic of infection, contamination, and contagion (from Latin contagionem, "a touching, contact"), this virtual interface reveals, day after day, the transmission chain of another type of virus: that of artistic expression.On the whole, after its period of quarantine, the gallery featured artworks covering multiple formats and genres, by more than 350 authors from 57 different countries, and emulating the behaviour of “good” viruses that establish a symbiotic relationship with their host: in this case, the AiQ online gallery.For the present paper, we will focus on 3 artworks that fall under the spectrum of “electronic literature”1. Working as organisms that are part of a specific ecosystem, or population, this sample has the potential to take even further the idea of language as a virus both as a figure of thought and experimental laboratory.In their self-reflective nature, revealing language as a form of virus in itself, the selected artworks act as distinctive virus strains that make use of different poetic and programming languages in artistic creation: a generative online memorial, a mobile screen capture performance, and a software system/digital art installation.Ultimately, the experience of confinement in pandemic times is the infectious prima materia that paradoxically constricted and impelled their creations and creation processes, leading them to experiment on distinctive media and languages, often away from their usual workspaces and into the online flow, where, to a great extent, life and art have temporarily moved.1 Patient Zer0, by Pedro Alves da Veiga [https://wreading-digits.com/art-in-quarantine/#images-113]; viral#c, by Robert B. Lisek [https://wreading-digits.com/art-in-quarantine/#images-23]; Status Offline (from Thoughts on Screen series), by Clara Abi Nader [https://wreading-digits.com/art-in-quarantine/#images-51].

(Source: Authors' own abstract)

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By Lene Tøftestuen, 25 May, 2021
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Electronic literature and computer games share a common history beginning from the earliest adventure games (Rettberg 87). As both the “technological platforms” that host electronic literature and games, and the “social contexts” that inform them evolve, so does the content, gameplay, and types of interactions they facilitate (Rettberg). The development of the Tinder platform and other mediated dating applications has precipitated the incorporation of interactive fiction games into the dating experience.The conception of dating as a game is by no means a new phenomenon. The “pickup” model of dating considers interactions between potential sexual partners to be governed by a set of rules that participants can learn in order to “win”(Almog and Kaplan). While such practices existed long before digitally mediated dating sites, applications like Tinder extend the gamification of dating; the Tinder platform further gamified these experiences with the release of the electronic literature game, Swipe Night, which debuted in October 2019. Swipe Night, in the model of hypertextual fiction, allowed users to play through a narrative, making choices that impacted the resulting storyline.Swipe Night was intended to connect users in new matches based on their choices as they navigate through the Swipe Night story, a deviation from Tinder’s usual matching via geographic proximity alone. The game played out over four weeks, with each week continuing the story from the week before. The in-app interactive narrative was largely successful, with over a million people tuning in each week (Perez). The Swipe Night trailer began making its rounds on tinder and other social media apps in late September 2019. In the 45 second trailer, users were introduced to the concept of the narrative: “Every Sunday, experience an interactive adventure where your choices can lead to matches. But you only have till midnight until the adventure is over” (Timmermans and De Caluwé).While the Tinder application has, since its inception, facilitated the gamification of dating through its fast-paced, turn-based interactions, the debut of the hypertextual fiction Swipe Night further underscored the game-like interactions of the platform. However, Swipe Night also enabled community development based around common choices within the narrative, and fostered discussion among Tinder users on a variety of platforms. While users’ Tinder data is ephemeral and not publicly available, cross platform conversations offer insight into user perceptions and experiences navigating the Tinder platform, and Swipe Night in particular. This study examines user reactions to the Swipe Night event on the subreddit r/Tinder; some users praised the unique matches they were able to form through interaction with the electronic narrative, while others lamented the effectiveness of the fiction for facilitating the development of actual relationships. As the formation of both communities and romantic relationships increasingly occurs via digitally mediated communication, a study of Tinder’s Swipe Night event provides essential insight into both the gamification of human interaction and audience reception of these developing interactive fiction technologies.

(Source: Authors' own abstract)

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By Lene Tøftestuen, 25 May, 2021
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A primary interface pattern of contemporary software platforms is the infinite scroll. Often used to deliver algorithmically-selected personalized content, infinitely scrolling feeds are one of many design decisions seen as responsible for compulsive use of social media platforms and other information-rich sites and apps. During the COVID-19 pandemic, a time marked by a substantive increase in time spent online, the infinitely scrolling feed has been implicated in a new negative pattern: “doomscrolling.” Doomscrolling refers to the ways in which people find themselves regularly--and in some cases, almost involuntarily--scrolling bad news headlines on their phone, often for hours each night in bed when they had meant to be sleeping. While the realities of the pandemic have necessitated a level of vigilance for the purposes of personal safety, doomscrolling isn’t just a natural reaction to the news of the day—it’s the result of a perfect yet evil marriage between a populace stuck online, social media interfaces designed to game and hold our attention, and the realities of an existential global crisis. It may be hard to look away from bad news in any format, but it’s nearly impossible to avert our eyes when that news is endlessly presented via designed-to-be-addictive social media interfaces that know just what to show us next in order to keep us “engaged.” As an alternative interface, the author’s artwork, titled The Endless Doomscroller, acts as a lens on our software-enabled collective descent into despair. By distilling the news and social media sites down to their barest most generalized phrases and interface conventions, The Endless Doomscroller shows us the mechanism that’s behind our scroll-induced anxiety: interfaces—and corporations—that always want more. More doom (bad news headlines) compels more engagement (via continued liking/sharing/posting) which produces more personal data, thus making possible ever more profit. Using concepts from Christian Ulrik Andersen’s and Søren Pold’s Metainterface, Wendy Chun's analyses of habitual new media, Geert Lovink’s theories of how sadness gets coded into platforms, and Matthew Fuller’s software studies guidance to perform deep analyses of small computational things, this paper will examine how the infinite scroll has intersected with pandemic-era platforms to create a world full of unhappy and unrelenting doomscrollers. Why don’t users look away from the scroll? Who most benefits when they can’t stop? And how might text-focused digital artworks intervene? Can an artwork that asks users to read *more* bad news headlines create an opportunity for mindfulness or enable a sort of exposure or substitution therapy, a way to escape or replace what platform interfaces want from and do to us? What if, in this age of pandemic platforms, the only way out of too much doomscrolling is endless doomscrolling?

(Source: Author's own abstract)

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By Lene Tøftestuen, 25 May, 2021
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Anton Ferret, author of the E-Lit work The Fugue* book, will present a reflection on the technological and creative part of it, all that can be done well working with platforms and taking advantage of their own intrusion into the data and all that it means to lose it by the cultural and technological change that has meant the greater awareness for privacy. Oreto Doménech, a researcher in digital literature, will focus on the reception: on how this literary work reconfigures the platforms through which it’s expressed and on how fiction itself uses the platforms to build a metadiscursive reflection on the literature inserted in the historical and social fact.The Fugue* book (ELC II; 2008) turns the reader into the author and protagonist of the same story he is reading and his real-life friends turn into fictional characters. Both obsessively harass him in a violent, sensual plot: with crimes, envy (including literary one), false attributions of authorship and bitter disputes in forums and social networks. Technically, the work is based on the idea of remixing and "mashup" and integrates elements as diverse as the Facebook APIs, applications in PHP and Javascript languages, automatic emails, PDF self-generation or speech synthesis. You can see a video of the work (https://youtu.be/m4UW5uo_H4M) which cannot be read right now due to the obsolescence of the Adoble Flash software.Technologies and platforms in this work are related to creation, not to edition or distribution, which supposes main problems and diverse derivatives of the technologies, like the need of continuous technological update, costs, dependence on the work to the availability of the technology and of the platforms, like for example, to other people's conditions, subjection to technological evolution of the platforms and the introduction of third parties, the big platforms, in the very heart of the works. This literary fiction is constructed with interaction, multimedia, language technologies, data obtained from the Internet and data provided by the reader, ingredients all of which involve well-known and used technologies and platforms.However, the reading pact that introduces us to fiction, reconfigures these platforms along different reading paths. The use of the wide range of platforms builds the plausibility of the stories and ironically places them at the center of the digital landscape in a critical review of the platforms themselves. The theme is distilled, refined, and focuses on the dehumanization of relationships between people, the text-context relationship, public and private space, the real self and masks (authorship, deception and plagiarism), gender literary texts and their analogy with the types of platforms… Texts and spaces related to a communicative situation completely out of literary creation make it possible for all these fragments to function as parts of a single literary narrative.Reading The Fugue* book is an intelligent, amusing and critical experience, with the subtle background of the complexity of the human being able to create (the) networks with words. When digital accelerates the hybridization of the arts, only the centrality of the word defines literature.

(Source: Authors' own abstract)

By Lene Tøftestuen, 25 May, 2021
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Though not an ideal solution, lyric reflection can be a significant method of preserving electronic literature. Having lost Flash, one solution is mimetic: a technical project resulting in a faithful copy of the original work, allowing the work to be experienced in all its particularity and interactivity. Failing that, footage, screenshots, and thorough, plainly descriptive writing can make a long-term accessible record so that at least that space in the genre’s history can be seen and understood by future generations. What happens, however, when a work a work features elements of ephemerality? On a computational level, this can happen to a far greater degree than with a traditional print book. Outside of rare tragedies, we can retrieve an old text from the archives, but we cannot retrieve the experience of, for instance, Multi-User Dungeons in the late 1990s. Lyric recollection, however, provides a literary model for securing something very close to the experience of the work.Two particularly notable sources here are William Wordsworth for an early example and Indra Sinha for a specifically elit example. In his preface to the second edition of Lyrical Ballads, Wordsworth wrote, “poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility … the emotion is contemplated till, by a species of reaction, the tranquility gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind.” The poem, therefore, is not located in the original experience nor is it trying to be a mimetic copy of it. In the tranquil reflection, however, the poet is able, ideally, to capture the process of remembering so clearly that a new instance of the original type of emotion is actively produced by this new virtual encounter. In a similar way, Sinha records 1990s MUDs in his 1999 memoir The Cybergypsies, carefully shifting between forms to recreate the imaginative depth of the experience. We might also imagine a lighter form of this in the wild success of Façade – which parallels something of the social, writing-based experience of MUDS – on YouTube.Pavel Curtis suggests in 1997 that “it is difficult to properly convey the sense of the experience in words. Readers desiring more detailed information are advised to try mudding themselves” (124-5). Writing such as Sinha’s presents a model for how we might preserve important elements of generational and platform-specific electronic literature for future personal, authorial, and scholarly consideration. Such writing about personal online experience was popular around that time. In 2020, Anna Weiner’s Uncanny Valley and Joanne McNeil’s Lurking indicate a return to this more broadly. Among more formal archival efforts, in imagining a long literature history of elit for the future, lyric narratives – particularly in incorporating instances of the computer text as in Sinha – will inevitably play a significant role in how future generations ephemeral and social elit works.

(Source: Author's own abstract)