elit

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 Jorge Sáez Jim…, 14 November, 2019
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Abstract (in English)

This panel explores the tentative emergence of e-lit in mainstream media, as our decades-old experimental practices begin to trickle into mass awareness. The digitisation of entertainment

This panel explores the tentative emergence of e-lit in mainstream media, as our decades-old experimental practices begin to trickle into mass awareness. The digitisation of entertainment media, from books to TV, has opened the doors for mass media to awaken from its so-called passive mode, into one where the audience can engage and interact with the narrative. Where is e-lit finding a purchase, and what forms does it take when it appears? What does this tell us about audiences and what they’re looking for? And how can we use this analysis as creators of e- lit?

The papers in this panel are all supported by practice-based research in designing digital and transmedia fiction. The first paper will discuss the use of ordinary spaces in transmedia fiction, using social media to tell fictional stories and the implications of doing so; the second paper will discuss the use of self-promotion within online spaces on e-lit and self-published authors, and will highlight methods that authors use to step out of the margins; and the final paper will discuss how a reality television programme uses narrative techniques and digital storytelling methods to influence immersion.

By Hannah Ackermans, 16 November, 2015
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In the field of networks and big data, data visualization has become very popular in recent years. Scientists, artists, and software designers are working collaboratively using elaborate ways to communicate data, and visual design is playing a substantial role by making the language of science more accessible and comprehensible, through visualisations, in the form of infographics, sculptural objects, installations, sonifications and applications. But why this current outburst? Is it because of the availability of open data? The approachability of visual design? The need for new analytic methodologies in the digital humanities? Or, the fact that it is part of our collective consciousness?

This paper deals with the above questions and has evolved, as a practice-based research, in conjunction with the practical part, a mobile application designed to run on an iPad2 / iPad mini or later models. This work was created specifically for the SILT exhibition, hosted in Hamburg, Germany in June 2014.

I took this exhibition as an opportunity to research the city of Hamburg and discovered that it had one of the largest ports in the world; its name Gateway to the World (GttW) seemed like a great title for the app. The vast and busy port served as a metaphor for the immensity of the Internet, the flow of information and its meaning of openness and outreach to the World Wide Web.

The aim of the app was to use open data from the maritime databases to visualise the routes of the vessels arriving to and from the Port of Hamburg, as well as have the vessels’ names mapped to Wikipedia entries. As the vessels move they act as writing tools to reveal a string of text creating calligramatic forms of information pulled from Wikipedia entries about the name of the vessels.

The information gathered from these entries generates a remix of text going from presenting factual information about vessels (containers, cargo ships, tankers, high speed crafts) to describing their names connecting them to characters in literary works, plays and mythological stories.

Further questions addressed as part of the ongoing research process are: How is this current fascination with data visualisation to be understood? How can open data be used as the raw material for creative projects? How can graphic design, programming, and aesthetics be used to analyse databases? What contribution can design bring to the Digital Humanities in general and more specifically to the field where art, language, and digital technologies intersect, such as in electronic literature?

It is with projects like this that Electronic literature serves as a means to explore open data as cultural material, as a way to instigate new forms of communication to discuss social and political issues and bring transparency through hybrid forms of visual art, language and technological advances. GttW in particular explores new territories to develop electronic literature. These include the investigation of open data in the creation of data visualisation poetics, e-calligrams, new literacies, networked multimodal textualities and online and mobile platforms for writing, publication and dissemination purposes.

For documentation of the work see following Website: http://www.mariamencia.com/pages/gatewaytotheworld.html

(source: ELO 2015 Conference Catalog)

By Daniele Giampà, 10 April, 2015
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Alan Bigelow tells in this interview how he started publishing online works of digital poetry around the year 1999 and where his inspirations for his work come from. Furthermore he explains why he chose to change from working with Flash to working with HTML5 and in which way this decision subsequently changed his way of writing. Then he considers the transition from printed books to digital literature from the point of view of the reader also in regards of the aesthetics of digital born literature. In the end he gives his opinion about the status of electronic literature in the academic field.

By Sumeya Hassan, 19 February, 2015
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As a writer of electronic literature who is also deeply engaged with computational narrative, my goal is producing work both engrossing to read and also engaging to play. How can (and why should) we expand an e-lit reader's affordances beyond selecting what lexia to view next, to take on a more active role of creator and co-author? For the past few years my work has been exploring these questions in a series of experiments towards an aesthetics of sculpturalfiction. By "sculptural" I mean to suggest that an encounter with such a work has qualities similar both to the act of sculpting-- playful exploration, encompassing many small acts of expression and decision-making-- but also the way asculpture is encountered: on the audience's terms, without a set script, for as much or as little time as the viewer is interested. Sculptural fiction implies continuous interaction with a piece where exploration and self-expression are both integral to the experience. I believe it illuminates an interesting corner of existing e-lit work in a new way, and provides an intriguing direction for future exploration.

(source Author Abstract)

By Daniele Giampà, 12 November, 2014
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Riccardo Giovanni Milanesi is creator and author of the two Web Series L’Altra (The Other Girl, 2011) and FableGirls (2012). In thi interview he explains how the work for the realization of L’Altra were carried out, an online project which was co-created with users/readers on FaceBook e published in real time. Moreover he announces the new Web Serie Vera Bes (2013).

Abstract (in original language)

Riccardo Giovanni Milanesi è l’ideatore e l’autore delle Web Serie L’Altra (2011) e FableGirls (2012). In questa intervista spiega come si sono svolti i lavori per la realizzazione di L’Altra, un progetto online creato con la diretta partecipazione degli utenti su FaceBook e pubblicato in tempo reale. Annuncia inoltre la nuova Web Serie Vera Bes (2013).

By Daniele Giampà, 12 November, 2014
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Leonardo Flores tells about his beginnings in the field of electronic literature and his current project on electronic poetry. He then makes an in-depth description of the paradigmatic change from printed literature to electronic literature with special attention on the expectations of readers who are new to new media works and the tradition, so to speak, of experimentalism in literature. With the same accuracy he ponders about the status of science of electronic literature and ends the interview with some considerations about the important issue of preservation.

By Patricia Tomaszek, 28 June, 2013
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In this interview Dene Grigar tells about her approach to electronic literature in the early 1990s and about her work as curator for the exhibit "Electronic Literature and Its Emerging Forms" in 2015. She goes on describing some distinguishing features of electronic literature and explaining her 'conceptual shift' on regard to the way of working with computers. Finally she suggests some methods of analysis for the understanding of electronic literature for both academic scholars and mainstream audience.

Creative Works referenced
By Audun Andreassen, 3 April, 2013
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The objective of this paper is to describe the potentialities of Mobile Tagging as a tool for increasing and spreading the effects of Mixed Realities in Electronic Literature. In this sense, we will start introducing the main concepts and some examples of Mixed Realities followed by the concepts and examples of Mobile Tagging, showing that they are connected and benefit each other and can benefit eLit as well. Mixed Reality (or MR) refers to the fusion of the physical and virtual worlds to produce new environments and visualizations where physical and digital objects co-­‐exist and interact in real time. On the other hand, mobile tagging is the process of reading a 2D barcode using a mobile device camera. Allowing the encryption of URLs in the barcodes, the mobile tagging can add a digital and/or online layer to any physical object, providing so several levels of mixed realities related to that object. Although Mixed Realities technologies have already existed for decades, in the past they were very expensive. Recently, mobile devices have also become tools for mixed realities. Due their pervasiveness, their potentiality for increasing the dissemination of mixed realities is enormous and can be leveraged by mobile tagging. Since mobile tags are simple tags that can be placed on virtually any place, physical object or person, added to the fact that the cell phones with cameras have become a very inexpensive and common device, the mobile tagging process can be said as one of the easiest and simplest ways to create mixed realities. The uses of mobile tagging and the several levels of mixed realities have applications in many areas going from medicine and engineering to literature and arts. Mobile Tags work like physical links to the web, allowing so that virtually anything can be part of an expanded mixed reality environment, including printed books, e-­‐books, poetry and any kind of text. This paper/presentation will use examples in the fields of art and literature to illustrate the functionality of the mobile tagging to create mixed realities.

(Source: Author's abstract for ELO_AI)