1. ELECTRONIC LITERATURE AND ITS PLACE IN DIGITAL LIBRARY A
report by Alexandr Belov, DILL Digital Library Learning MA Student
Oslo and Akershus University College of Applied Sciences (Norway),
Tallinn University (Estonia), and the University of Parma
(Italy)
2. WHAT IS ELECTRONIC LITERATURE? ELO, Electronic Literature
Organization: works with important literary aspects that take
advantage of the capabilities and contexts provided by the
networked computer (1999) Loss Glaziers Digital Poetics (2001) The
confrontation with technology at the level of creation Intersection
with conceptual, visual, sound arts and graphic design
Hybridization and Mutation Ergodicity Expanded Textuality
3. ROOTS AND PREDECESSORS OF E-LIT The first literary programme
The Love Letter Generator by Christopher Stachey (1952) A simulated
conversation agent ELIZA by Joseph Weizenbaum (1966) The first
textual adventure game Colossal Cave Adventure by Will Crowther
(1976) Proto-hypertexts in the printed literature such as Saportas
Composition No. 1 (1963) and Julio Cortazars Hopscotch (1998)
Visual art such as animated texts in film by Len Lye and Jenny
Holtzers Truisms (1977)
4. EARLY E-LIT DEVELOPMENT WELL, the Whole Earth Lectronic Link
(1985) MacAdemia Conferences (1988, 1989) ACM Hypertext Conferences
(1987, 1989) Hypercard and Storyspace Publishing Tools (by late
80s) Eastgate Publisher (early 90s) Hypertext Fiction Research and
Curriculum (early 90s): Brown University and MIT Defunct Publishers
and Self-Published Works
5. TYPES AND GENRES OF E-LIT Hypertext Fiction Network Fiction
Interactive Fiction Linking structures The power of Visuality
Stronger Game elements Net of nodes and links Simulation Input (in
form of Command) from the user (Interactor) Non-linearity
Interaction and Play Textual exchange is central Pattern and Mood
(Narrative Intelligence) Potential Narrative Repetition and Loops
Lack of quest or intrigue
6. NEW ROLES FOR READERS Seeing through the presentation of
data Interpreting Cool Information Map of Connections/Tangled Web
Limiting Reading time Delaying Reading time Temporally evolving
texts Distant reading Extending the concept of reading with nine
types of intelligences
7. DIGITAL ARTEFACT STRUCTURE Bit Streams Artist/Writer
Software Human Operator External Parties Hardware
8. NEWMUSEUMINNEWYORK Image retrieved from ARTCASTE, web-based
TV and print news for Contemporary Art
9. RHIZOME ARTBASE MODEL FOR PRESERVATION OF ELECTRONIC ART 1 a
vast range of projects by artists all over the world that employ
materials such as software, code, websites, moving images, games
and browsers to aesthetic and critical ends artists working at the
furthest reaches of technological experimentation Digital
Preservation Practices and the Rhizome Artbase report by Ben
Fino-Radin Threats to the permanent access to digital works: *
Diffusivity * Data obsolescence * Physical Degradation
10. RHIZOME ARTBASE MODEL FOR PRESERVATION OF ELECTRONIC ART 2
Implementation of Controlled Vocabularies by Ward Smith in 2008 The
Erl King Case Study by Jeff Rothenberg in 2006 Variable Media
Approach (Permanence Through Change Report 2003)
11. RHIZOME ARTBASE MODEL FOR PRESERVATION OF ELECTRONIC ART 3
The submission of a work by an artist and the Artist Questionnaire
Gathering materials for the works archival package Monitoring
through Automated Scripts and Crowd sourcing Organization through
Artbase metadata schema derived from DC and enriched through
Controlled Vocabularies Restoration Strategies: 1. Emulation 2.
Migration 3. Reinterpretation
12. PRESERVATION, ARCHIVING AND DISSEMINATION INITIATIVE (PAD)
BY ELO the Electronic Literature Collection Volume 1 (2006) and
Volume 2 (2011) Born-Again Bits: A Framework for Migrating
Electronic Literature Report Stress on Collaboration with multiple
stakeholders CELL (Consortium on Electronic Literature) Ideal goal
for cross-referencing multiple databases and collections
13. ELMCIP KNOWLEDGE BASE to document the electronic literature
as a dynamic field of practice, one whose cultural import becomes
more comprehensible when the activities of authors, scholars,
publications, performances, and exhibitions can be related to each
other (Scott Rettberg and Eric Dean Rasmussen) to represent the
Context of E-Lit activities to bring European artists into
visibility to map the relations between creative works, critical
writing, events, teaching resources, research groups, authors,
scientists and programmers etc.
14. IMPORTANT FUNCTIONS OF ELMCIP To build institutional
sustainable research infrastructure for E-Lit To scan and document
the related work in the field To map the context to facilitate the
E-Lit ecology To integrate the Project into the Education
Curriculum and make it a platform for Teaching and Research
15. AMBITIONS OF ELMCIP Internationalization and opening
discourses between communities to develop resources in particular
underdeveloped areas of knowledge about E-Lit: Specialized research
collections like Brazilian, and Russian E-Lit and Collection of
Lost Works Working with CELL to develop documentation standards for
E-Lit and to implement cross-platform for simultaneous
searchability options Working to make the ELMCIP sustainable over
the long term Finding a long-term home for ELMCIP Knowledge base in
a well-resourced research library or archive
16. CURRENT ISSUES ON E-LIT DISCUSSED AT THE RECENT CONFERENCE
CHERCHER LE TEXTE, PARIS, 22-26 SEPTEMBER 2013 Open source, Open
Access Literary Databases for Scholarly Collaborative Communication
Literariness of E-Lit The relationship between E-Lit and Digital
Games and Paraliterature Cross-reading for sharing theoretical
perspectives and critical thinking on E-Lit The nature of
Interactivity, Imagination and Digital Reality in E- Lit E-Lit
Curation E-Lit and Global Publishing System