Kathi Inman Berens storified some nice media elements relating to the 2013 electronic literature exhibit and reading at the MLA Convention.
I discuss the history and context of electronic literature in this article about the new digital novel The Silent History. The article, by Eugenia Williamson, appears in Saturday’s print edition of the Boston Globe.
The Silent History certainly looks like a compelling project.
Another just-released digital novel which is also quite compelling, although it doesn’t have the same PR apparatus behind it, is Queerskins by Illya Szilak, designed by Cyril Tsiboulski. Although I’ve not read a great deal of this new novel yet, I’m impressed by its multimedia and literary engagement with a difficult aspect of recent American experience.
Queerskins explores the nature of love and justice through the story of a young gay physician from a rural Midwestern Catholic family who dies of AIDS at the start of the epidemic. Queerskins’ interface consists of layers of sound, text, and image that users can navigate at random or experience as a series of multimedia collages. Images of the mythic and the everyday, the sacred and the profane, from banal vacation footage to vintage burlesque, interact rhizomatically with text and audio monologues to subvert preconceived notions of gender, sexuality, and morality.
Queerskins can be read online for free, and it can be reading using free software; an iPad is not required. Although I’m a fan of location-based and other innovation and respect those working on all sorts of platforms, what I’d like for the future of literature is for it to be like this – fully accessible on even a public library computer and Internet-connected laptops throughout the world.
Kurt Reinhard of the Zurich University of Applied Sciences and Arts has posted a 10-part video series about storytelling in our networked, digital age. The first part (“Change of Storytelling”) includes comments by:
- Ian Condry (MIT)
- Joshua Green (UCSB)
- Dean Jansen (Participatory Culture Foundation)
- Henry Jenkins (USC)
- Joe Lambert (Center for Digital Storytelling)
- Nick Montfort (MIT)
- Clay Shirky (NYU)
I also appear in part 7 (“Risks of Social Media”) and part 10 (“Bits and Pieces”). Besides the august company listed above, you can see that the videos get to some of the critical issues in storytelling today: fans attired as stormtroopers and “Charlie Bit My Finger – Again!”
The Electronic Literature Organization‘s conference at Brown University has new concluded – the workshops, performances, screenings, exhibits, and sessions all went very well, as did the coffee breaks and other times for informal conversation. Many thanks to the organizer of ELO_AI (Archive & Innovate), John Cayley!
The conference was a celebration of and for Robert Coover, co-founder of the Electronic Literature Organization and major American novelist, whose teaching and promotion of electronic literature has been essential to the field. Robert Coover was toasted and at least lightly roasted, heard papers presented on his work, and did a reading of the “recently renovated Hypertext Hotel” – a famous early project by students which did indeed turn out to have some recent renovations.
ELO_AI began on Thursday with an array of workshops by Damon Loren Baker, John Cayley, Jeremy Douglass, Daniel Howe, and Deena Larsen. Deena Larsen was later part of a great roundtable on archiving with Will Hansen, Marjorie Luesebrink, and Stephanie Strickland; the group discussed Duke University’s work with Stephanie Strickland’s papers (and digital works), the Deena Larsen Collection at the University of Maryland, and the efforts that the ELO made in the Preservation, Archiving, and Dissemination project. On the first day of the conference, Mark Marino organized a great panel with four undergraduate presenters. And, there was an opening reception at the Westminster Street gallery where an excellent show of digital literary work has been put together. While there was an array of work (in the screenings, performances, gallery, and sessions) from people who were presenting at an ELO conference for the first time, I was also glad to see many of the people who were instrumental in creating and publishing literary work on the computer more than a decade ago.
Without trying to enumerate every session of the conference, I’ll mention the Sunday 10am plenary to try to get across how wide-ranging the presentations and presenters were. In this session, George Landow, author of the famous Hypertext: The Convergence of Contemporary Critical Theory and Technology (1992), told the tragicomical tale of hypertext’s use in education at Brown. Angela Chang and Peggy Chi described two interactive projects for very young readers, projects that used my Curveship system and the Open Mind Common Sense project from Henry Lieberman’s MIT Media Lab group. Lawrence Giffin used the not-very-democratic framework of the salon to consider the important avant-garde site Ubuweb. And finally, Paola Pizzichini and Mauro Carassai looked into the Italian edition of Michael Joyce’s Afternoon and its almost total absence from Italian libraries. Certainly, some sessions were more focused – very focused in the case of the one on William Poundstone’s digital writing work; at least with a theme of process intensity, in the case of the session were I presented my work on Adventure in Style. But we had a genuinely diverse group of presenters, and sessions like this one on Sunday revealed this, while also showing that we do have cross-cutting interests and that we can have valuable conversations.
A special area if interest for me, interactive fiction, was represented by Aaron Reed, who did a reading of his Blue Lacuna in which he deftly showed both interactive sessions and the underlying Inform 7 code while a volunteer interactor spoke commands. Aaron Reed also gave a paper on that large-scale piece, explaining his concept of interface and his work on developing a non-player character who ranged across different spaces without being a simple opponent or companion character. In the same performance session and paper session, I got to see and learn more about Fox Harrell’s Living Liberia Fabric, a piece produced in affiliation with the Truth and Reconciliation Commission (TRC) of Liberia, incorporating video testimony, and employing Fox Harrell’s GRIOT system for poetic conceptual blending.
We welcomed new ELO board members and officers. Joining the ELO board are Fox Harrell, Caroly Guertin, and Jason Nelson. Dene Grigar took office as vice president, and Joe Tabbi completed his term as president, handing that role over to me.
During the sessions, we heard critical perspectives on many particular electronic literature work and some on the ELO itself, which will help us think about the challenges the Organization faces and how we can better serve readers and writers beyond American universities. The ELO has had ten years of growth and learning by now, and while there will be more of each to do, our four main projects are now well enough established that all of them are past 1.0:
- The Electronic Literature Collection, the second volume of which has been edited and produced by an independent editorial collective and will be published soon.
- The Electronic Literature Directory, which in its new manifestation offers community-written descriptions as well as metadata.
- Our conference – this most recent one at Brown was our fourth international gathering.
- Our site and our online communications, which offer information about the ELO and an introduction to electronic literature.
I’m glad to be starting my service as president of the ELO at a time when the organization has just had a very successful conference and has these other effective projects rolling. Thanks to Joe Tabbi and other past presidents and directors of the Organization for bringing us to this point – and, again, to John Cayley for bringing us all together at Brown.
Proceedings of the Digital Arts and Culture Conference, 2009 are now online. The conference was a great success; DAC continued to lead the way in the culturally engaged study of digital art and media. Many thanks go to Simon Penny, who was director of the conference, and others at UIC: Ward Smith, Liz Losh, and Sean Voisen. The theme leaders for this conference put together very strong series of papers that were both focused and relevant. I hope those of you who didn’t make it to Irvine will visit the proceedings and see a bit of what happened at the latest instance of this extraordinarily rich series of gatherings, where the study of video games, digital art, digital literature, performance, and the cultural aspects of online and computing experience have been explored so well over the years.
Ian Bogost and I just gave our talk “Platform Studies: Frequently Questioned Answers” here at Digital Arts and Culture in Irvine, California. There were three other talks – fascinating ones – in this day’s opening plenary session. Garnet Hertz took us into circuit bending, tactical media, and the artistic recycling and reuse of electronic waste. Jason Farman spoke on locative media with a focus on geocaching as technologically-enabled, embodied, proprioceptive play. Conor McGarrigle explored, in detail and with reference to several specific projects, the relationship between the practices of the Situationist International and contemporary locative media work.
Ian and I addressed six misconceptions about platform studies (the concept, the focus) which we’ve already heard a few times. Our talk was an attempt to better invite people to participate in the project and in the book series. In brief, the six misconceptions, and our responses, are:
#1 Platform studies entails technological determinism. Platform studies is opposed to “hard” determinism and invites us to continue to open the black box of technology in productive ways. #2 Platform studies is all about hardware. Platform studies includes software platforms as well. #3 Platform studies is all about video games. Platform studies extends to all computing platforms on which interesting creative work has been done. #4 Everything these days [in the Web 2.0 era] is a platform. We invite a focus on computational platforms, the basis for digital media work. #5 Platform studies is about technical details, not culture. Platform studies connects technical details to culture. #6 Platform studies means that everyone in digital media will have to get computer science training or leave the field. Platform studies shows how technical understanding can lead to new sorts of insights, but will not evict the many other important sorts of scholars from digital media.
The full paper is online, too. Since the beginning of the project, we’ve insisted on the embedding of the platform level in culture and other non-technical contexts, and we’re tried to draw connections between the way computing systems work and culture, history, and society. Others, we’re sure, will have new ways to do that; please, join us in taking up the platform as an focus for digital media studies.
I have one other collaborative paper today, which will be presented by Alex Mitchell: “”Shaping Stories and Building Worlds on Interactive Fiction Platforms.” Then I’ll present “The ppg256 Series of Minimal Poetry Generators.” Finally, I’ll be part of the DAC Literary Arts Extravaganza with a reading called “Five Uneasy Pieces.” I’m looking forward to it all, but I’m sure I’ll be glad to be looking back on it when the day’s done.
You can search Tweetland for #DAC2009 to see what the cool kids are saying about the conference.