03 Février 2021 - 15 Mars 2021

Le Laboratoire NT2 et la Chaire de recherche du Canada sur les arts et les littératures numériques (ALN), en collaboration avec Aarea.co et McGill Digital Humanities, lancent un appel à projets pour une prochaine exposition en ligne intitulée Trans[création] (juin 2021).

03 Février 2021 - 01 Mars 2021

Le Laboratoire NT2 et la Chaire de recherche du Canada sur les arts et les littératures numériques (ALN), en collaboration avec Aarea.co et McGill Digital Humanities, lancent un appel à projets pour une prochaine exposition en ligne intitulée Trans[création] (juin 2021).

International anthology includes works by Ana Hatherly and Salette Tavares [Cover. Links] Details > Title: Women in Concrete Poetry: 1959-1979 | Editors: Alex Balgiu and Mónica de la Torre | Publisher: Primary Information | Date: 2020 | Characteristics: Paperback, 480pp., 8 x 9 inches, Edition of 3500, ISBN: 9781734489729 Description > Women in Concrete Poetry: …

Continue reading "Women in Concrete Poetry: 1959-1979"

Happy new year everyonw. 2021 have so far been terrifying though we still managed to relases on 11.11.2021 V1.36 with quite a few interface changes and tighter cellproject.net integration.

ELMCIP

• ELMCIP logo improvment
• New layout of ELCIP news/blog section.
• Introduce footer menues. We are moving meny items from the page header to the footer menus. The header is in the future getting smaller freeing up more screen space for article content.
• Improments in the local and test site staging scripts and integration. Makes it easier to stage, maintaine and develop the CELL code base.

Further details can be found in ELMCIP issue queue.

• Read more about ELMCIP and CELL v1.36 released

A Toast to the Flash Generation
Thursday, December 31, 2020
10 a.m.-5 p.m. PST
Zoom: http://bit.ly/ToastToFlash
Hosted by Dene Grigar, Director, Electronic Literature Lab; Digital Preservationist, Electronic Literature Organization

Join us on New Year’s Eve Day to celebrate the genius of the Flash Generation when over 20 artists of Flash narratives, poetry, and essays will read and perform their works throughout the day. You are invited to drop in anytime via Zoom, experience the works, and participate in the chat and the Q&A.

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 Go, Riding the Meridian, The 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, 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––also intends to document it for posterity. The recordings and chat we collect via Zoom will be held in the ELO Repository, made available on the Electronic Literature Lab’s Vimeo account, and published in Electronic Book Review.

During the event we will also provide 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 will lead the Toast to the Flash Generation. So, grab a glass of bubbly (or other favorite beverage), and join us in honoring the genius of the Flash Generation.

Below is the program of readers/performers, featured works, and URLs to the work as of 28 December 2020. Updates will be posted daily.

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

10:15 a.m.-10:30 a.m. PST
Annie Abrahams (France) “Séparation,” ELC2
http://collection.eliterature.org/2/works/abrahams_separation/separation/index.htm

10:30 a.m.-10:45 a.m. PST
Dan Waber (US): “Strings,” ELC1
https://collection.eliterature.org/1/works/waber__strings/index.html

10:45 a.m.-11:00 a.m. PST
Tina 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. PST
Kate Pullinger (CAN, UK): “Inanimate Alice: Episode 1,” ELC1
http://collection.eliterature.org/1/works/pullinger_babel__inanimate_alice_episode_1_china/index.html

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

11:30 a.m.-11:45 a.m. PST
Reiner Strasser (Germany) & Marjorie Luesebrink “– in the white darkness,” ELC1
http://collection.eliterature.org/1/works/strasser_coverley__ii_in_the_white_darkness/index.html

11:45 a.m.-12:00 p.m. PST
Maria Mencia, (Spain, UK) “Birds Singing Other Birds’ Songs,” ELC1
http://collection.eliterature.org/1/works/mencia__birds_singing_other_birds_songs.html

12:00 p.m.-12:15 p.m. PST
Christine Wilks (UK): “Fitting the Pattern,” ELC2
http://collection.eliterature.org/2/works/wilks_fittingthepattern.html

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

12:30 p.m.-12:45 p.m. PST
Rui Torres (Portugal): “Amor de Clarice,” ELC2
http://collection.eliterature.org/2/works/torres_amordeclarice.html

12:45 p.m.-1:00 p.m. PST
Stephanie Strickland (US): “slippingglimpse,” ELC2
http://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. PST
Claudia 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. PST
Jim Andrews (Canada): “Nio,” Turbulence.org
http://turbulence.org/Works/Nio/

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

2:00 p.m.-2:15 p.m. PST
Serge Bouchardon (France): “Toucher,” ELC2
http://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. PST
Rob Kendall (US): “Faith,” Cauldron & Net
https://elo-repository.org/cauldronandnet/volume4/confluence/kendall/title_page.htm

2:45 p.m.-3:00 p.m. PST
Leo Flores reads David Knoebel (US): “Thoughts Go,” ELC3
http://collection.eliterature.org/3/works/thoughts-go/index.html

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

3:15 p.m.-3:30 p.m. PST
Jody Zellen (US): “Disembodied Voices,” Turbulence.org
http://www.disembodiedvoices.com/

3:30 p.m.-3:45 p.m. PST
Erik Loyer (US) and Sharon Daniel (US): “Public Secrets,” ELC2
http://collection.eliterature.org/2/works/daniel_public_secrets/index.html

3:45 p.m.-4:00 p.m. PST
Jason Nelson (US, AUS): “Game, Game, Game, and Again Game,” ELC2
http://collection.eliterature.org/2/works/nelson_game_game_game/gamegame.html

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

4:15 p.m.-4:30 p.m. PST
Mez Breeze (AUS): “_Clo[h!]neing God N Ange-Ls_,” Cauldron & Net
https://elo-repository.org/cauldronandnet/volume2/features/mez/clone/clonegod.htm

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

We rounded of 2020 14.12.2020 by releasing V1.35. This relase is mostly about CELL and us formally taking over the production and maintainance of https://cellproject.net site.

• Major updating to the CELL code base to the very latest 2020 versions. Detailed information about all the work done can be found in Milestone 1 and Pre production milestone.
• Improve speed and security.
• Introducting a CELL test site: http://cell.elmcip.net allowing everyone to test out next relase. We are releasing new versions of CELL in sync with ELMCIP.

• Read more about ELMCIP and CELL v1.35 released

11 Décembre 2020

Les équipes du Centre Figura, de la revue Captures et de la Chaire ALN se réunissent pour lancer trois nouveautés! Nous vous invitons à vous joindre à nous en ligne pour célébrer cet accomplissement et vous présentez le fruit de nos travaux.

11 Décembre 2020

Les équipes du Centre Figura, de la revue Captures et de la Chaire ALN se réunissent pour lancer trois nouveautés! Nous vous invitons à vous joindre à nous en ligne pour célébrer cet accomplissement et vous présentez le fruit de nos travaux.

ELO 2021 Conference and Festival: Platform (Post?) Pandemic
Co-chairs: Søren Pold, University of Aarhus and Scott Rettberg, University of Bergen

Dates
The academic conference will take place May 24-28th, 2021. Workshops will take place May 24-25 and the main conference will take place May 26-28th. The arts program will unfold over a longer span of time, with a series of events and exhibitions during March, April, and May 2021.

Submission deadlines:
Academic Proposals: Jan. 15
Full Papers & Posters: April 28

Exhibitions:
Post-Human Electronic Literature: Jan 8
Covid E-lit: Jan. 8
Platforming Utopias (and Platformed Dystopias): Feb. 1
Kids E-Lit: Feb. 1.

Performances: Feb. 1

Conference Theme

While international travel has become virtually impossible due to widespread restrictions, the pandemic has pointed to our global connectedness: this is an aspect of platformed culture we will embrace in this conference. For the first time, the ELO conference will not be constrained by orientation to a particular location or time frame, but will unfold over three days and be hosted by institutions in Scandinavia, India, and the United States in synchronous and asynchronous events taking place online around the clock, including presentations, exhibitions, performances, workshops, and social events.

Globalized platforms present new opportunities for writers and readers both because of their large audiences and the fact that new forms of electronic literary cultures are emerging around them. The current rise of global platforms and platform culture however challenge Electronic Literature’s history of developing independent, purpose-specific platforms, since commercial platforms are often closed formats with largely rigid templates for ‘content’. In this sense, forms of criticality are challenged by the fact that the platforms are typically owned, maintained and often quickly updated (and sometimes made obsolete) by global corporations.

Digital platforms are not new: gaming consoles operating systems, programming languages and the web itself were discussed as platforms before the current platformization. The integration of hardware and software in many platforms has been seen in gaming consoles, PCs, phones and tablets, and can be seen as a result of initiatives from the fields of ubiquitous computing, Internet of Things and business strategies leading to the design of walled gardens. With the combination of social media, apps, search engines and targeted advertisement, platformization has become increasingly dominant in digital media. The platformization of culture is highlighted during the COVID-19 pandemic as physical platforms for art, culture and the public have become difficult to access at times where physical meetings, travel, public institutions and life in general have been challenged. Digital platforms have entered into our most private and intimate spaces, raising questions about surveillance, capture, and who’s reading our reading and writing. Connecting, meeting, working and reading on platforms have been defining moments for our contemporary life during the pandemic comparable to the way the clock defined industrialized life. What do digital and digitization mean now, and what is left out and missing when culture is streamed?

Globalization has become less seamless, as global trade and collaboration is affected, but we are more connected in our individual lives and worries. Furthermore, the big, rapid changes of culture and society during the pandemic have raised fundamental questions about other urgent challenges: the climate crisis, equality in relation to race and ethnicity, the social, and the liberation and equality of gender and sexuality. The pandemic situation has led to both hope and despair in relation to new and old political struggles such as the #metoo and #BlackLivesMatter movements, which have also been fought on and off platforms.

With this conference we aim to investigate how the future will be platformed: what will come after the pandemic and how can we explore this from the pandemic? The pandemic will not be over when we meet on the conference platforms, rather it is a condition from which to rethink and explore the future, and learn from how life has changed during this period: What has the pandemic crisis made us see that was not before apparent to us, and how do we build upon the lessons we have learned to develop a more sustainable and equitable future? We seek explorations and research into electronic literature that examines how we are platforming the future. What are the practices and poetics of contemporary electronic literature? How to thrive as electronic readers and writers within the constraints of platform culture? How to be critical on and of platforms? How to develop alternative literary platforms? What are the global dimensions? How do we connect and disconnect on platforms? What could and should platform e-lit be? How does platform culture relate to the traditions and history of electronic literature?

The conference theme can be addressed in several ways including the following:

• Platform electronic literature: How does data and literary production, writing and reading practices converge in platforms? How does electronic literature inhabit platforms? How are new forms and audiences developed? How is electronic literature hosted, exhibited, archived, disseminated and cared for with and in platforms?

• Platform history: Historical platforms and electronic literature, platform obsolesence, and the constant upgrade.

• Platform determinism, dependence and criticism: To what extent does platform determine literary practice and genre? To what extent are the forms and genres of electronic literature limited by our dependence on particular platforms? And how can we best archive and preserve platform-dependent e-lit? To what extent do literary practices work against the grain of platforms or reshape them? How is electronic literature critical on and of platforms?

• Pandemic platforms: How have the specific circumstances of the pandemic affected the production of electronic literature and the cultural practices surrounding it? What are our post-pandemic cultural platforms going to be?

• Platform politics: Hashtag movements and platforms for change. Platforms as ways of organising political activity.

• Platform utopia: speculative futures, alternative platforms, writing for difference.

• Platformed globalisation and colonialism: How are new global and local forms of electronic literature emerging? How does electronic literature deal with globalisation and new forms of (post-)colonialism? E-lit in different continents, countries and languages.

• Platform identities: Identification, profiling, identity politics, race & ethnicity, gender and sexuality.

• Platform culture: (Dis-)connection: (anti-)sociality, (not)meeting, (un)care.

• Platform performance: Literary programming, live-coding, algorave, and other forms of performance that take place within platforms.

• Platform literacy: multisensory reading, mobile and spatial reading, reading contexts and voices, reading of generated, profiled and dynamic/streaming text, platform and narrative.

• Digital literary audio platform: audio walks, ambient literature, site specific audio stories, voice assistants and other audio interfaces.

• Platforms for digital literacy: What sorts of platforms and creative works best serve the needs of young digital readers? Platforms for children’s E-lit.

We will strive for maximum open accessibility in archiving and disseminating all conference outputs.

Keynote speakers will be selected by the conference committee to respond to the conference theme.

Types of Conference Submissions Accepted

1. Full papers: 2,000-4,000 words. Full papers will be accepted via a two-stage submission process, with an abstract of 500 words for the first submission deadline and full papers due by April 28th. Full papers will be published open access on the conference site and the ELMCIP database. We will also strive to find journals who will consider selected papers for special issue publication. Full paper presenters will also participate in a live roundtable discussion of their papers (5-minute presentation plus discussion). Accepted abstracts will be grouped into peer panels, and peers will be asked to give feedback on each other’s papers.

2. Panel presentations: Proposals for panel presentations including 3-5 presenters for a one-hour session. Panels may include a series of short presentations bound by a theme or may feature a roundtable discussion of a particular topic or project. Abstract submission max 500 words.

3. Posters: We will accept submissions of one-page posters in PDF format (A4, A3, or A2 size) to illustrate a project or theme in visual format. Posters can include links to interactive, networked and dynamic content not hosted at the conference site. Posters will be displayed on the conference site and will be discussed in a virtual poster session with short lightning talks. Abstract submission max 500 words. Complete poster due by April 28th.

4. Workshops: We will accept proposals for workshops based on live hands-on activities, demonstrations, tutorials etc. Abstract submission max 500 words.

5. Virtual Engagement Events: sessions based on innovative strategies for creating engagement and connection. Abstract submission max 500 words.

   Submissions are accepted on EasyChair: https://easychair.org/conferences/?conf=elo2021

The primary shared language of the conference will be English, and abstracts should be submitted in English, though we welcome proposals for papers, panels and presentations in other languages.

Submissions are restricted no more than two per person.

Submissions to the academic program will be due Jan. 15th, 2021.

Accepted full papers and posters will be due April 28, 2021.

Exhibition Submissions

Exhibitions for ELO 2021 will unfold on an extended time scale from March-May 2021. All exhibitions will be fully exhibited online, though some will also include local physical exhibitions. Jason Nelson will be the main exhibition coordinator.

The following exhibitions will be part of the festival:

1. Posthuman Electronic Literature. An online exhibition with a projection exhibition component focused on electronic literature and media art that addresses posthumanism. To be featured during European SLSA conference at the University of Bergen. Curated by Joseph Tabbi, Scott Rettberg, Jason Nelson, Eamon O’Kane. MARCH 4-7, 2021. Submissions accepted until Jan 8th, 2021.

2. COVID E-Lit. An online exhibition of works that respond thematically to the pandemic and/or are produced within the specific context of platform culture during the pandemic. A library exhibition version of the exhibition will also be produced. Curated by Anna Nacher, Søren Pold, and Scott Rettberg. APRIL 2021. Submissions accepted until Jan 8th, 2021.

3. Flashback: A special celebration of Flash and Shockwave e-lit held in the Electronic Literature Repository with artists on hand to talk about their work. Curated by Dene Grigar at Washington State University Vancouver’s Electronic Literature Lab. MAY 24-28, 2021.

4. Platforming Utopias (and Platformed Dystopias): This will be the largest open submission exhibition, responding to the conference theme. MAY 24-28 2021. Submissions accepted until February 1st, 2021.

5. Platform as a place of study – E-lit as already decolonised: A series of exhibitions, workshops and activities focused on Indian and Asian E-Lit that will unfold through Spring 2021. MARCH-MAY 2021. Call will be announced separately. Curated by dra.ft

6. Kid E-Lit: An online exhibition of electronic literature for young audiences, and work work by young authors. Curated by Mark Marino and Maria Goicoechea. MAY 24-28, 2021. Submissions accepted until February 1st, 2021.

   Submissions are accepted on EasyChair: https://easychair.org/conferences/?conf=elo2021

Not all works submitted need to be designed specifically for the online context. Documentation of other sorts of work, such as material artifacts, printed materials, installations, may also be submitted, along with a plan to exhibit them online. Digital materials can also be exhibited in non-web formats, such as a VR space. Each of the open submission exhibitions have separate submission requirements.

Performance Submissions

Ian Hatcher will be the main curator of the Performance program. For performance submissions, we will accept both submissions for live virtual events and for pre-recorded events that have taken place in a live venue. Performance time for synchronous events. should be specified as short (up to 8 minutes) or long (up to 15 minutes). In addition, we will accept proposals for keynote performances (up to 30 minutes), for 2-3 slots that will be featured in the program. Recorded performance videos or other documentation of live performances may also be submitted for an asynchronous exhibition. Submissions accepted until February 1st, 2021.

Submissions are accepted on EasyChair: https://easychair.org/conferences/?conf=elo2021

Conference Fee

The conference fee will be $100 plus ELO membership for employed academics. The conference fee portion will be waived for independent artists and researchers without institutional support (by request). The conference fee will support technical infrastructure, development and costs related to exhibitions.

Division of Responsibilities

The leadership responsibilities for the conference academic program and arts program will primarily shared between Aarhus University (Academic program, led by Søren Pold) and the University of Bergen (Arts program, led by Scott Rettberg), working in close coordination. Two additional partners include Washington State University Vancouver’s Electronic Literature Lab (led by Dene Grigar) and the India-based dra.ft collective (led by Nanditi Khilnani).

We plan for the conference to unfold in multiple time zones with synchrous activities organized by the partners in India (dra.ft), Scandinavia, and the United States of America.

About the partners

The Electronic Literature Organization (ELO) https://eliterature.org is an international organization dedicated to the investigation of literature produced for the digital medium. Founded in Chicago, Illinois in 1999, the ELO now has a presence across North America and in South America, Europe, Asia, Australia, and Africa.  Our members hail from a wide array of disciplines and areas of study, including Art, Literature, Communication, Computer Science, Humanities, Digital Humanities, Media Studies, Womens’ Studies, and Comparative Media.

Aarhus University, Digital Aesthetics Research Center https://darc.au.dk/. Digital Aesthetics Research Centre (DARC) functions as a shared intellectual resource that identifies, analyses, and mediates current research topics within digital art and culture; producing experiments, research projects, publications and public events. The aim is to create a space for critical reflection on digital cultural transformation. The centre was formed in 2002. The purpose of the centre is to bring together researchers at Aarhus University with an interest in digital art and culture (net., software, code, sound etc.). The centre organises invited talks, seminars and conferences like the seminal Read_me conference and Runme Dorkbot City Camp in 2004. DARC has hosted research projects such as The Aesthetics of Interface Culture, published working papers and dissertations on digital art and culture.

DARC maintains its focus on bringing together researchers at Aarhus University, forming research projects, collaborations and international networks. We publish newspapers and a journal, APRJA, arrange yearly international PhD seminars (with transmediale festival and shifting partners), internal research seminars, larger research conferences, and organize public exhibitions and events with digital media artists and researchers from around the world. Besides contributing analytically and theoretically to the field, DARC also engages in practical experiments (often in collaboration with artists and practitioners). DARC researchers have for example collaborated with Danish and international libraries for more than 10 years on promoting and exhibiting electronic literature.

University of Bergen, Bergen Electronic Literature Research Group: The Bergen Electronic Literature Research Group (BEL), led by Professor Scott Rettberg, studies literary works created for digital media and related digital art forms. An important project for us is the ELMCIP Electronic Literature Knowledge Base, the most extensive open-access research database in the field. Our research often combines theory and practice, as in the award-winning VR narrative Hearts and Minds, winner of the 2016 Robert Coover Award for a Work of Electronic Literature. Members of our group frequently publish scholarship on electronic literature, including recently Electronic Literature by Scott Rettberg (Polity, 2018), described by prominent e-lit theorist N. Katherine Hayles as “a significant and important book by the field’s founder that will be the definitive work on electronic literature now and for many years to come” and the two volume Post-Digital: Debates and Dialogues from the Electronic Book Review (Bloomsbury, 2020), edited by Joseph Tabbi.

BEL frequently organizes international symposia and workshops, such as the Electronic Literature Knowledge Base Symposium and EcoDH seminar in 2018 and welcomes international speakers and visiting researchers. In 2015 we hosted the international Electronic Literature Organization conference and literary arts festival. We embrace innovative forms of scholarly publishing, such as a four-part series of collaborative articles, conversations and interviews on the Metainterface and critical works of artistic digital media published in 2018-19 in the electronic book review. BEL has published annual reports documenting group activities since 2011, which are available in the Knowledge Base.

Washington State University Vancouver’s Electronic Literature Lab (ELL): Founded and directed by Dr. Dene Grigar, ELL is a media archaeology lab created for the advanced inquiry into the curation, documentation, preservation, and production of born digital literary works and other media. It serves as the site of digital preservation for the ELO and, so, manages the organization’s archives and repository. Additionally, ELL has hosted numerous post-doctoral scholars and has served as the site of numerous research projects, including Pathfinders(Grigar and Moulthrop, 2015) and Traversals (Moulthrop and Grigar, 2017); prominent exhibits of electronic literature at the Library of Congress, International Symposium on Electronic Art, the British Computer Society, and other venues; five to seven Live Traversals of early born-digital literature each year; and an annual publication entitled Rebooting Electronic Literature that documents its many activities. It has been supported by grants, most notably from the National Endowment for the Humanities (2013) and the Andrew W. Mellon Foundation, and through the university’s Lewis E. and Stella G. Buchanan Distinguished Professorship. Finally, the lab reconstitutes outmoded e-lit works, most recently Annie Grosshan’s The World Is Not Done Yet and Deena Larsen’s Kanji Kus. They are currently rebuilding Erik Loyer’s Strange Rain, Christy Sanford’s Red Mona, and Richard Holeton’s Figurski at Findhorn on Acid. Collaborating with Grigar on the conference will be Holly Slocum, ELL’s Project Manager; Nicholas Schiller’s ELL’s Associate Director, Mariusz Pisarki, ELL 2020-2021 Research Affiliate, Greg Philbrook, ELL’s Technical Specialist, and Kathleen Zoller, ELL’s Undergraduate Researcher.

dra.ft: dra.ft is a movement, a festival, a community, a long-term research project that explores emergent ideas of text and its future. It draws from the idea of poetic computation where the machine and author are collaborators. It is in these intersectional spaces that we can produce, perform and embody new meanings and develop new texts. The festival dra.ft encourages unfinished, work in progress, prototypes, tests (essentially drafts) of texts and text-making.

dra.ft was originally conceptualised as a 2-day festival in August 2020 to be held in Jaipur, India – host of the popular and well received Jaipur Literature Festival. dra.ft is now an active online community of writers, designers and creative technologists engaging through virtual events, meet-ups and online social spaces.

24 Novembre 2020 - 02 Décembre 2020

Il vous reste une semaine pour profiter des dernières activités du festival HTMlles! Au programme: un atelier d'arts électroniques, une activité de médiation, une table ronde, une présentation d'artiste, une exposition et un programme vidéo. Pour voir l'ensemble de la programmation, visitez htmlles.net.

24 Novembre 2020 - 02 Décembre 2020

Il vous reste une semaine pour profiter des dernières activités du festival HTMlles! Au programme: un atelier d'arts électroniques, une activité de médiation, une table ronde, une présentation d'artiste, une exposition et un programme vidéo. Pour voir l'ensemble de la programmation, visitez htmlles.net.

Highlighted features:

• Merge in support for CELL project
• Security and bug fixes.

More details in our milstone on Github.com

• Read more about ELMCIP v1.34 released

18 Novembre 2020

L’ouvrage Attention à la marche ! Penser la littérature électronique en culture numérique paraît le 16 novembre 2020 aux Presses de l’Écureuil. Les versions liseuse, MOBI, PDF et iPad sont accessibles sur le site NT2 ici.

18 Novembre 2020

L’ouvrage Attention à la marche ! Penser la littérature électronique en culture numérique paraît le 16 novembre 2020 aux Presses de l’Écureuil. Les versions liseuse, MOBI, PDF et iPad sont accessibles sur le site NT2 ici.

The ELO Board of Directors is pleased to announce that it is funding two proposals for its 2020 Emerging Spaces for E-Lit Creations initiative. The two winning proposals are Filter by Sarah Whitcomb Laiola and Caleb Andrew Milligan and (RE)VERB by John Barber, Andrew Demirjian, Dahlia Elsayed, Jeremy Hight, and Henna Wang.

With this initiative, the Board seeks to encourage the creation of new spaces (zines) that curate, promote, and explore a greatly expanded set of works on social media and mobile platforms. Its goal is to stimulate and support the creation and dissemination of quality electronic literature in a greater variety of spaces with zines that reach and cultivate new audiences.

The Board is grateful for all the teams that submitted proposals and encourages those who were not funded to consider applying to future ELO initiatives.

Here are some details on the two awarded proposals.

Filter

An Instagram Collaboratory for E-Lit

Filter​ will be a critical-creative publication that welcomes a variety of works and materials to further the creation and circulation of e-lit both optimized for and disruptive of Instagram, as well as critical scholarly and pedagogical engagement with this developing genre. We embrace the creative and critical opportunities latent in specific features of Instagram; Stories, Boomerangs, Reposts, interactive stickers, 10-frame images posts, and short videos all offer opportunities to expand possibilities for e-literary creation and criticism.

Filter’s ​mission is to support the circulation and promotion of works of e-lit that are optimized for, engage with, and/or disrupt the poetics of that platform.

Filter’s senior editors, Sarah Whitcomb Laiola and Caleb Andrew Milligan, will be assembling an editorial team and an advisory board in preparation for launching the ‘zine.

(RE)VERB

an audio augmented reality zine dedicated to the interplay between sound, electronic literature, and the experience of environment

(RE)VERB is an audio augmented reality zine dedicated to spatially conceived electronic literature projects that explore the aesthetic possibilities of sonically delivered language engaging with the physical and corporeal experience of the environment. (RE)VERB will release two issues per year with the editorial board and guest curators selecting the most compelling pieces that engage global e-lit writers in this emerging medium. 

(RE)VERB will partner with Gesso, creators of an innovative mobile application that enables immersive location-based audio experiences to bring the peer reviewed creative visions of selected authors to life. The free Gesso app provides an interactive map with geographic coordinates, audio, images and video artwork. Readers, listeners, participants can engage with the contents either in situ or through recordings. 

The initial editorial board consists of artists and writers who work with language, mapping and space including John Barber, Andrew Demirjian, Dahlia Elsayed, Jeremy Hight and Henna Wang from Gesso.

Leonardo Flores, ELO President, had this to say about the initiative: “I’m so thrilled about these two proposals! Each ‘zine will focus on a different sense– sight and sound– and will create opportunities for people to publish quality electronic literature designed for three major platforms– Instagram, iOS, and Android– and will be able to cultivate audiences that have no idea what electronic literature is, but are creating it and consuming it. We have two great teams that will help us expand the field and learn valuable lessons from their experiences.”

ELO plans to award more grants to support e-lit publications in the coming years in fulfillment of its mission to support the development of digitally born literary works.

06 Novembre 2020 - 06 Février 2021

L'équipe NT2 est fière d'annoncer leur nouvelle exposition en ligne S'éclipser: Phases of Resilience, qui sera présentée dans le cadre du HTMlles Festival - Édition Slow Tech organisé par Ada X à partir du 6 novembre!

06 Novembre 2020 - 06 Février 2021

L'équipe NT2 est fière d'annoncer leur nouvelle exposition en ligne S'éclipser: Phases of Resilience, qui sera présentée dans le cadre du HTMlles Festival - Édition Slow Tech organisé par Ada X à partir du 6 novembre!

06 Novembre 2020 - 02 Décembre 2020

La quatorzième édition du festival HTMlles arrive! La première vague d'événements aura lieu en ligne, du 6 novembre au 2 décembre 2020. La seconde sera IRL au printemps 2021.

06 Novembre 2020 - 02 Décembre 2020

La quatorzième édition du festival HTMlles arrive! La première vague d'événements aura lieu en ligne, du 6 novembre au 2 décembre 2020. La seconde sera IRL au printemps 2021.

An exhibit curated by Maika Pollack and Rui Torres with works from the Arquivo Fernando Aguiar and the Coleção Moraes-Barbosa. [Images. Links] The John Young Museum of Art, University of Hawai’i at Mānoa, is proud to present for the first time in Hawai’i works from the collections of two major dedicated archives of experimental poetry, …

Continue reading "Networks, Collaboration and Resistance in/between Portugal and Brazil, 1962–1982 [John Young Museum of Art, University of Hawai’i at Mānoa, Oct 26, 2020 – Jan 28, 2021]"