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