Electronic Literature Lab

Short description

On December 31, 2020 Adobe dropped support of Flash software, a premier platform for net art popular in the late 20th century to first decade of the 21st. Within weeks, born-digital literature created with the software was no longer accessible to the public––including the 447 the Electronic Literature Organization (ELO) had collected for its repository. By the end of January 2021 the Electronic Literature Lab’s efforts to restore ELO’s Flash archives began in earnest with a variety of methods: Ruffle.rs, Conifer, Webrecorder, and video recordings attained with the Pale Moon browser and the Wayback Machine.This exhibition, featuring 48 works the lab selected from the online journals and anthologies held in the ELO’s archives, lays bare both the importance of Flash as a platform for conveying highly experimental and compelling literary art and the challenges artists and preservationists face in keeping the art produced with it accessible to the public.

List of Artists and Works:

Annie Abrahams, "Séparation" / "Separation"Ingrid Ankerson & Megan Sapnar, "Cruising"Adriana de Barros, "Blinding Lights"Giselle Beiguelman and Helga Stein, "Code Movie 1"Alan Bigelow, "Brainstrips"Serge Bouchardon, "Toucher" / "Touch"Mez Breeze, "_Clo[h!]neing God N Ange-Ls_"Oni Buchanan, "The Mandrake Vehicles"David Clark, "88 Constellations for Wittgenstein (to be played with the Left Hand)"Sharon Daniel and Erik Loyer, "Public Secrets"Juliet Davis, "Pieces of Herself"Claire Dinsmore, "The Dazzle as Question"Tina Escaja, "Pinzas de metal"Caitlin Fisher, "These Waves of Girls"Muriel Frega, "Alice in the 'Wonderbalcony'"Peter Howard, "Xylo"Yael Kanarek, Evann Siebens, Meeyoung Kim & Yoav Gal, "Portal"Aya Karpinksa, "mar puro"Rob Kendall, "Faith"David Knoebel, "Thoughts Go"John Kusch, "Red Lily"Deena Larsen, "Firefly"Donna Leishman, "Deviant: The Possession of Christian Shaw"Jason Edward Lewis, "Nine"Mark Marino, "Stravinsky's Muse"María Mencia, "Birds Singing Other Birds's Songs"Judd Morrissey, "The Jew's Daughter"Stuart Moulthrop, "Under Language"Jason Nelson, "i made this. you play this. we are enemies."Millie Niss, "The Dancing Rhinoceri of Bangladesh"Santiago Ortiz, "Bacterias Argentinas"Regina Pinto, "Café de Pao"Joerg Piringer, "Soundpoems I and II"William Poundstone, "3 Proposals for Bottle Imps"Kate Pullinger and babel, "Inanimate Alice, Episode 1: China"Kate Pullinger and Chris Joseph, "Flight Paths"Brian Kim Stefans, "The Dreamlife of Letters"Reiner Strasser and M. D. Coverley, "ii — in the white darkness: about [the fragility of] memory"Reiner Strasser and Alan Sondheim, "Tao"Stephanie Strickland, "slipping glimpse"Thom Swiss, "Shy Boy"Rui Torres, "Amor de Clarice"Ana Maria Uribe, "Anipoemas"Dan Waber, "Strings"Christine Wilks, "Fitting the Pattern"Jody Zellen, "Disembodied Voices"Natalie Zeriff, "Meditation on a Barstool"John Zuern, "Ask Me for the Moon"

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

The pandemic has enhanced awareness and reliance on digital platforms. Brick and mortar museums and libraries that are having difficulties pivoting to such platforms are presently unable to share works with the public for safety reasons. Consequently, special attention is being paid to platforms that produce, protect, and promote electronic literature, such as Electronic Literature Organization’s Repository. Housing 30 collections of 2500 digital-born works, the site must be maintained, the works thoroughly and accurately described, and digital art preserved and shared with scholars, artists, and the public. In light of the pandemic, it was realized that the Repository could fill more roles than storing digital artwork and the accompanying information. It had the untapped potential of becoming a space where digital art could be studied, experienced, preserved, and shared from anywhere. In short, it would become the next generation museum, library, and preservation site for born digital literature collected by the Electronic Literature Organization (ELO), the site now known as The NEXT. This panel showcases the newly designed Repository implemented by 39 students at Washington State University Vancouver (WSUV). 

In 2021, ELO in conjunction with the Electronic Literature Lab (ELL) partnered with students at WSUV to implement this new vision for The NEXT. The new site makes digital artwork easily accessible to the public from a single digital space, enhanced by SEO and ADA compliance. From here, visitors have the ability to download permitted works and view any associated media, including images, videos, visualizations, and recorded interviews with the donor. They have also developed a search function for easily finding records. To further increase accessibility, students conducted usability testing on pages within the site, which includes an About page, Donations page, documentation regarding metadata schema, and more. With these components, The NEXT has transformed from an informational space into a multimedial site that is participatory, interactive, and experiential.

The architecture of the site is built to be scalable, allowing it to grow as new donations are offered to ELO. The NEXT sets a precedent for future museums and databases to follow. Blending information with human interaction stimulates The NEXT’s use as a virtual interactive museum and library, while increasing awareness of artists and their artwork. The site will continue to be maintained by ELL for ELO, and sustained by donations to ELO and ELL. Scholars volunteering their time and labor will further refine the metadata.

The NEXT will be presented at the conference by five of the 39 students involved in the implementation stage of the project. Kathleen Zoller will act as moderator, discussing the aim of the project and the components that made it come together; Katya Farinsky will share her process regarding copyediting; Betsy Hanrahan and Sarah West will demonstrate the site’s architecture and layout; Mallory Hobson will share design decisions made for The NEXT; Preston Reed will discuss the filming and interview process.

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By Lene Tøftestuen, 24 May, 2021
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Abstract (in English)

I propose comparing methods of generating forensic images of 3.5 inch floppy disks in order to evaluate methodologies for use in media archeology labs. Many key works of electronic literature (including the bulk of Eastgate Systems, Inc. early publications) were released on 3.5 inch floppy media. I will use both Kyroflux and Superdrive floppy disk controller units to generate forensic images and also generate images using BitCurator suite of forensic software and using legacy computing hardware and software.Gathering data on the quality of images created by these disparate methods and also on the workflows involved and the ease and practicality of employing them will produce useful information for other media archeology labs examining how the field of floppy disk forensics has advanced.The results of these tests should show useful comparison data between the quality of the images created from identical media, the range of image types that can be created using each technique, and the usefulness for online access and emulation each forensic methodology and platform provides.

(Source: Author's own abstract)

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Email
dgrigar@wsu.edu
Short description

Woman E-Lit was a symposium that took place on March 30, 2021 during Women’s History Month celebrating women who have contributed to the field of electronic literature. It also celebrated the 10th anniversary of the founding of the Electronic Literature Lab (ELL). The two events intersect in that it was important to the ELL Team to celebrate the lab's anniversary in a way that speaks to it mission––that is, to curate, document, preserve, and produce born digital literary works and other media. Hosting a symposium where women could come together to amplify achievements, provide a space of free and welcomed expression, and celebrate you, us, all of us, whether here today or not seemed to be the most joyful way to accomplish this goal.

 

Schedule:

9:00-9:10: Welcome & Introductions by Dene Grigar

 

9:10-9:30: "Women researchers in Latin American E-Lit," by Carolina Gainza, Rejane Rocha, Nohelia Meza, and Veroníca Gomez

 

9:30-9:40: "Provocation: Why Are Women Special?," by Lyle Skains

 

9:40-9:50: “Mothers and (sometimes unexpected) Daughters of E-Lit. On Polish women, (e-)literary theory, and VR poetry," by Agnieszka Przybyszewska

 

9:50-10:00: "Digital Poetry & Gendered Bodies," by Jeneen Naji

 

10:10-10:20: “Leading Women in the Assimilation of E-lit in Arabic Culture," by Eman Younis

 

10:20-10:30: “#Crossroads…,” by Annie Abrahams

 

10:30-10:40:  "Gender and Canadian Digital Poetics with Asterisks," by Dani Spinosa

 

10:40-10:50:  “Griottes of a New Age,”  by Judith Okonkwo

 

10:50-11:00: “Call to Action: Let Her Name Be Remembered,” by Dene Grigar

This is an activity whereby all participants at the event honor women who have shaped the field over the years by documenting their names and contributions.

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Short description

"A Toast to the Flash Generation" took place on New Year’s Eve Day to celebrate the genius of the Flash Generation. Over 20 artists of Flash narratives, poetry, and essays will read and performed their works throughout the day via Zoom.

The term, “Flash Generation,” coined by theorist Lev Manovich in 2005, captured the zeitgeist of a new era of cultural production when artists and writers discovered they could express their creativity through movement, images, sound, and words through Flash software. Online journals like Poems That GoRiding the MeridianThe Iowa Review Web, Caudron & Net, BeeHive, and many others, emerged as leading publishing venues for this new form of born digital media. During the heady period of 1999 to 2009, Flash influenced the development of net art, interactive art, Flash games, and literature, Image removed.not to mention personal and organizational websites. It wasn’t until the rise of the Apple smart phone at the end of the first decade of the 21st century that Flash’s dominance as a viable form of digital production waned. After December 31, 2020 Adobe will discontinue its support for Flash, and all of this output will be threatened with obsolescence.

This event––besides celebrating the end of an important creative period and showcasing the wonderful Flash e-lit collected by the Electronic Literature Organization in its Repository––aimed to document it for posterity. The recordings and chat collected via Zoom will be held in the ELO Repository, has been made available on the Electronic Literature Lab’s Vimeo account, and will be published in Electronic Book Review.

During the event we provided information about the steps the Electronic Literature Lab is taking to preserve Flash works held in the Electronic Literature Repository and its own digital library. 

At the end of the event, Leonardo Flores, Chris Funkhouser and Dene Grigar lead the Toast to the Flash Generation.

Below is the program of readers/performers, featured works, and URLs to the work:

10:00 a.m.-10:15 a.m. PSTWelcome: Dene Grigar, Anastasia Salter, Mariusz Pisarski

10:15 a.m.-10:30 a.m. PSTAnnie Abrahams (France) “Séparation,” ELC2http://collection.eliterature.org/2/works/abrahams_separation/separation/index.htm

10:30 a.m.-10:45 a.m. PSTDan Waber (US): “Strings,” ELC1https://collection.eliterature.org/1/works/waber__strings/index.html

10:45 a.m.-11:00 a.m. PSTTina Escaja (Spain, US): “Pinzas de metal” (Forthcoming to the Repository)https://www.badosa.com/bin/obra.pl?id=n175

11:00 a.m.-11:15 a.m. PSTKate Pullinger (CAN, UK): “Inanimate Alice: Episode 1,” ELC1http://collection.eliterature.org/1/works/pullinger_babel__inanimate_alice_episode_1_china/index.html

11:15 a.m.-11:30 a.m. PSTDonna Leishman (Scotland): “Deviant: The Possession of Christian Shaw,” TIRWhttp://www.6amhoover.com/xxx/start.htm

11:30 a.m.-11:45 a.m. PSTReiner Strasser (Germany) & Marjorie Luesebrink “– in the white darkness,” ELC1http://collection.eliterature.org/1/works/strasser_coverley__ii_in_the_white_darkness/index.html

11:45 a.m.-12:00 p.m. PSTMaria Mencia, (Spain, UK) “Birds Singing Other Birds’ Songs,” ELC1http://collection.eliterature.org/1/works/mencia__birds_singing_other_birds_songs.html

12:00 p.m.-12:15 p.m. PSTChristine Wilks (UK): “Fitting the Pattern,” ELC2http://collection.eliterature.org/2/works/wilks_fittingthepattern.html

12:15 p.m.-12:30 p.m. PSTClaudia Kozak/Leo Flores: Ana Maria Uribe (Argentina): From “Anipoemas,” TIRWhttps://www.elo-repository.org/TIRweb/tirweb/feature/uribe/uribe.html

12:30 p.m.-12:45 p.m. PSTRui Torres (Portugal): “Amor de Clarice,” ELC2http://collection.eliterature.org/2/works/torres_amordeclarice.html

12:45 p.m.-1:00 p.m. PSTStephanie Strickland (US): “slippingglimpse,” ELC2http://collection.eliterature.org/2/works/strickland_slippingglimpse/slippingglimpse/index.html

1:00 p.m.-1:15 p.m. PST Break

1:15 p.m.-1:30 p.m. PSTClaudia Kozak: Walkthrough of Regina Pinto’s “Museum of the Essential and Beyond That” (Brazil)https://www.elo-repository.org/museum-of-the-essential/

1:30 p.m.-1:45 p.m. PSTJim Andrews (Canada): “Nio,” Turbulence.orghttp://turbulence.org/Works/Nio/

1:45 p.m.-2:00 p.m. PSTAlan Bigelow (US): “This Is Not a Poem,” (Forthcoming to the Repository)https://webyarns.com/ThisIsNotAPoem.html

2:00 p.m.-2:15 p.m. PSTSerge Bouchardon (France): “Toucher,” ELC2http://collection.eliterature.org/2/works/bouchardon_toucher/index.html

2:15 p.m.-2:30 p.m. PST Break

2:30 p.m.-2:45 p.m. PSTRob Kendall (US): “Faith,” Cauldron & Nethttps://elo-repository.org/cauldronandnet/volume4/confluence/kendall/title_page.htm

2:45 p.m.-3:00 p.m. PSTLeo Flores reads David Knoebel (US): “Thoughts Go,” ELC3http://collection.eliterature.org/3/works/thoughts-go/index.html

3:00 p.m.-3:15 p.m. PSTStuart Moulthrop (US): “Under Language,” TIRWhttps://www.elo-repository.org/TIRweb/vol9n2/artworks/underLanguage/index.htm

3:15 p.m.-3:30 p.m. PSTJody Zellen (US): “Disembodied Voices,” Turbulence.orghttp://www.disembodiedvoices.com/

3:30 p.m.-3:45 p.m. PSTErik Loyer (US) and Sharon Daniel (US): “Public Secrets,” ELC2http://collection.eliterature.org/2/works/daniel_public_secrets/index.html

3:45 p.m.-4:00 p.m. PSTJason Nelson (US, AUS): “Game, Game, Game, and Again Game,” ELC2http://collection.eliterature.org/2/works/nelson_game_game_game/gamegame.html

4:00 p.m.-4:15 p.m. PSTDeena Larsen (US): “Firefly,” Poems That Gohttp://elo-repository.org/poemsthatgo/gallery/fall2002/firefly/index.html

4:15 p.m.-4:30 p.m. PSTMez Breeze (AUS): “_Clo[h!]neing God N Ange-Ls_,” Cauldron & Nethttps://elo-repository.org/cauldronandnet/volume2/features/mez/clone/cl…

4:30 p.m.-5:00 p.m. PSTConversation and Toast: Leo Flores, Chris Funkhouser, and Dene Grigar

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By Dene Grigar, 30 August, 2020
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Abstract (in English)

Bernstein's revisioning of Storyspace in its 3rd version functions as a bridge between the previous hypertexts that Eastgate Systems, Inc. published and experimental interactive works readers encounter today on storytelling platforms like Twine or as apps on their phones. The result is that Those Trojan Girls remains constant in his approach to publishing “serious hypertext” embraced in the 1990s while at the same time contemporizes its aesthetic and functionality for readers today.

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Those Trojan Girls moves beyond that aesthetic with other features. Sculptural hypertext allows, as he explains it, for “sections where almost anything can follow nearly anything else” (Bernstein, "Those Trojan Girls: A Discussion”). Likewise, stretchtext, animated links, the sliding window, and customizable interface embue the work with the feel of experimental interactive media. In sum, it functions as a bridge between then and now, connecting classical Storyspace to channel a classic story. 

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10.7273/8mwy-j433
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By Dene Grigar, 30 August, 2020
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Abstract (in English)

In of day, of night Megan Heyward’s voice fuses disparate scenes into a coherent story about a woman's wanderings, a search to regain her sense of self. For what are our dreams if not a series of journey through our past, present, and potential?

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of day of night joins other journey stories from the Western literary tradition that explore the struggle of human beings to make sense of life and of their lives.

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By Dene Grigar, 30 August, 2020
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Abstract (in English)

In his essay, “The American Hypertext Novel, and Whatever Became of It?,” Scott Rettberg discusses the impact of hypertext fiction before the mainstreaming of the World Wide Web, arguing that the "link and node hypertext" approach represented by early stand alone software like Storyspace was “eclipsed . . . by a range of other digital narrative forms” (Rettberg, “The American Hypertext Novel”). His essay goes on to reference important examples of hypertext fiction––Michael Joyce’s afternoon, a story (featured in Chapter 1 of this book) as well as Shelley Jackson’s Patchwork Girl and Stuart Moulthrop’s Victory Garden. Of these, both Joyce’s and Jackson’s novels are still accessible to the reading public; Moulthrop’s is not. As a digital preservationist of interactive media whose mission it is to maintain public access to our literary and cultural heritage, the question this essay asks is, “Has the lack of accessibility to Moulthrop’s novel affected research about it?”

Pull Quotes

If my study of the 13 editions of Joyce’s afternoon, a story sheds light on the challenges of keeping a work alive amid technological innovation, [1] then this study of the critical response to Moulthrop’s Victory Garden reveals the way in which a work lives on despite the lack of accessibility to it.

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10.7273/8mwy-j433
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By Dene Grigar, 30 August, 2020
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Abstract (in English)

M. D. Coverley’s Califia is an interactive, hypertext novel that experiments with multi-vocal storytelling. The first of two major novels by the artist, it was produced in 2000 on the Toolbook 2.0 platform and published by Eastgate Systems, Inc. for the Windows operating system on CD-ROM. It tells the story of three people whose lives, intertwined by various family connections and location, search for the fabled Treasure of Califia. A major theme driving the narrative is The American Dream, or rather the stuff such dreams the three main characters––Augusta Summerville, Kaye Beveridge, and Cal (Calvino) Lugo–think it should be made of rather than what it really ends up to be.

Pull Quotes

The treasure she found was not the Califia gold her father had sought so hard to find but the riches found in her family stories, the friends she had made in Kaye and Cal, and comfort of living in the present with acceptance of its past, and willingness to front its future.

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