CFP: ELO 2021 Conference and Festival: Platform (Post?) Pandemic

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 BergenBergen 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 CongressInternational 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.

ELO 2020 Conference: Live Events

As we prepare to launch this year’s online conference, we would like to invite our community to support the ELO with their 2020 membership dues ($50 regular membership, $25 for unaffiliated scholars, independent artists, and students).

Take a look at all the amazing content in this year’s conference:

The content of the conference is free and open access. Even if you don’t register, you’ll be able to access talks, papers, and EVENTUALLY the recorded Zoom sessions. To participate in or access the Live Program, you will need to be a member of the organization and register for the conference.

The Electronic Literature Organization is committed to free and open access to all the resources and collections it creates, year round. And the way you can support these initiatives and publications is by renewing your membership dues every year.

Go here and renew and register!
https://elo.cah.ucf.edu/registration/

For your convenience, here’s the Live Events Calendar in a Google Calendar.

Announcement: ELO 2020: Moving Forward, Virtually

The ELOrlando leadership team has found ourselves, like many conferences, faced with rethinking our plans. We were thrilled to be hosting you here in Orlando this July, but in light of COVID-19 we have already received numerous cancellations and concerns from members of the community such as yourselves asking if the conference will be held.

Given the public health concerns and travel restrictions imposed by many universities, we are moving to a fully virtual event for this year. There are various models for this type of conference, but given our highly international community, our approach will combine synchronous and asynchronous events, with an emphasis on openness and access. What this means  is:

  • Plenaries: Keynotes and special events will still be held synchronously, as well as archived for subsequent viewing. Questions will be moderated, and participants will be encouraged to share their thoughts in the hashtag.

  • Conference Presentations: All other conference presenters will be asked to record their presentations in advance and submit them through the same conference interface, to be hosted in UCF’s institutional repository, and then hold conversation and/or promote their talks in the conference hashtag: #ELOrlando.

  • Conference Proceedings: As conference proceedings have already been submitted as full papers, no video is required: however, authors are welcome to submit a video talk to accompany their paper submission.

  • Exhibits and Performances: We will work with exhibitors and performers on the best way to share your work. This might include directly hosting your piece for access by the public, or including documentation via video.

While this change was unexpected, and we regret the loss of both the opportunity to connect with you here in Orlando and to share your work through public events with our community, we hope to view this as an opportunity to innovate. Given that, there is a new call for innovative sessions open now to both current participants and those interested in joining the virtual event. We are particularly interested in experimental sessions for collaboration, sharing, and socializing. If you would like to submit, please view the new call (copied below) and submit by May 1st.

One benefit to this model is that it makes the entire conference open access and alleviates some of the exclusionary aspects of academic conferences. Given this opportunity for inclusivity, and the economic challenges facing all of us and our institutions in this time of crisis, we are reducing the registration fee for the conference. We ask that you pay your ELO membership (https://eliterature.org/membership/) by May 15th plus an additional $50 registration fee to be included in the conference program, and if you have the funds available, please consider donating to support the community-building, archival, and critical work of the organization. Our conference is our biggest event each year for supporting the organization’s mission, and without this gathering our budget will be greatly reduced, particularly as we are in the process of negotiating potentially significant penalties from the hotel.

Updates to the website and other logistical details will be forthcoming, pending our current attempts to resolve the contract with the hotel. We hope that you will be able to join us in this new format, even if you were not originally planning to make the trip to Orlando.

Thank you, and take care,
Anastasia Salter

Call for Experimental Virtual Sessions:

As with many conferences moving to the virtual format for the first time, the Electronic Literature Organization Conference and Media Art Show will be seeking innovative strategies for creating engagement and connection during the week of the virtual event. These can include both synchronous and asynchronous sessions. If you would like to lead a virtual happening, please submit an abstract of 150-250 words describing the session via our submissions portal: https://stars.library.ucf.edu/cgi/ir_submit.cgi?context=elo2020. Here are a few ideas from our conference team to get you started:

  • Synchronous roundtables or hashtag chats

  • Netprov or other virtual performance pieces

  • Digital poetry jams in unusual platforms (Animal Crossing? MMOs)

  • Social media exhibition pieces

  • Game or electronic literature jams appropriate to the conference theme

Select the category of “Virtual Engagement Sessions” when submitting. This call is open both to those who had already planned on joining us in Orlando, and those newly able to participate due to the move to online. Our team will review proposals on a rolling basis through May 1st, and reach out to discuss strategies for implementation as appropriate. We look forward to working with you to craft an engaging program under our new constraints.

 

Announcing the 2019 ELO Prizes

At the annual conference of the Electronic Literature Organization (ELO), held this year in Cork, Ireland, outgoing President Dene Grigar announced the 2019 ELO Prize winners, including:

The Robert Coover Award for a Work of Electronic Literature

1st Place: False Words 流/言 by IP Yuk-Yiu
Honorable Mention: Little Emperor Syndrome by David Thomas Henry Wright
Committee members: Erik Loyer, Gabriel Gaudette, Johannah Rodgers, Brian Greenspan

The Robert Coover Award for a Work of Electronic Literature honors the year’s best work of electronic literature, of any form or genre. It comes with a $1000 stipend.

Regarding “False Words,” one judge wrote, “I was impressed with the design and execution of this project as a visual, technical, and verbal object.” Erik commented, “I find this piece to be exceedingly elegant in both design and concept—it works on multiple visual, temporal, and signifying scales, and the emergent phenomenon of the character for ‘human’ becoming the last thing to be obscured is very effective.” Another judge added, “It is impressive in its visual design, and strikes me as important for its implicit critique of human rights offenses and censorship, all while conveying the fleeting powerlessness of words and of life.”

Of “Little Emperor Syndrome,” one judge wrote, “Beyond the strong writing, it’s the deep, sustained, and motivated engagement with combinatorics that wins me over with this one—I feel like my choices to reorder the text are clear, meaningful, illuminating, and expressive, and it’s rare to find all of those elements in a single work.”   Another judge added, “It is impressive for sustaining the coherence of such a complex narrative while cleverly encoding its polyphony.

The N. Katherine Hayles Award for Criticism of Electronic Literature

1st Place: Electronic Literature by Scott Rettberg
2nd Place (tie): Small Screen Fictions co-edited by Astrid Ensslin, Paweł Frelik, and Lisa Swanstrom ; The Digital Literary Sphere by Simone Murray.
Committee members: Monika Górska-Olesińska, Joellyn Rock

The N. Katherine Hayles Award for Criticism of Electronic Literature honors the best work of criticism of electronic literature of any length. Endowed through a generous donation from N. Katherine Hayles and others, this annual prize recognizes excellence in the field. The Prize for 1st Place comes with a $1000 award.

Electronic Literature presents a wide-ranging survey of the field of electronic literature. According to the judges, “No other work addresses with such consistency the varied and extensive selection of born digital literary works over the past two decades.” They go on to say, “Also, one finds here a substantive (and varied) context in critical theory and creative practices. It is the first monograph I know of that articulates electronic literature as both a scholarly field and a viable creative practice with much, much room for development.”

Electronic Literature, written by ELO co-founder Scott Rettberg. Not only has Rettberg been pivotal in the formation of this field, but after moving to Norway, he expanded the field through spearheading the ELMCIP directory, an extensive database of digital works, many of which appear in this book.

In support of the anthology Small Screen Fictions, one judge wrote, “I loved that it began with works for young readers, establishing a lifelong readership for e-literature. I appreciated the interactive use of my own small screen to sample content  as embedded in the codex. The topics and perspectives were diverse and the collection casts a wide net.”

Of Digital Literary Sphere, the judges said, the work opens “the discussion about audience, readership, and authorship in electronic literature.” They added, “Murray tracks, more broadly, an emerging set of interactions between print publications and online author/reader conversations. Murray brings Habermas and Adorno, Roland Barthes and Michel Foucault to bear on the audience for literature in the digital media era. This seems to me a highly original and entirely necessary contribution to the e-lit discourse.”

The Marjorie C. Luesebrink Career Achievement Award

Winner: Mez Breeze
Scholar Beneficiary: Kate Gwynne
Committee: Jeremy Douglass, Odile Farge, Mia Zamora, Soeren Pold

The Marjorie C. Luesebrink Career Achievement Award honors a visionary artist and/or scholar who has brought excellence to the field of electronic literature and has inspired others to help create and build the field. Bestowed by the Electronic Literature Organization and funded through a generous donation, it comes with the following: a $1000 award that can go directly to the awardee or to a young scholar who would use the funds in support of developing content for online resources about the awardee’s achievements; a plaque showing the name of the winner and an acknowledgement of the achievement; and a one-year membership in the Electronic Literature Organization at the Associate Level.

The Artist or Scholar selected for this award should demonstrate excellence in four or more of the following categories:

  • Creation of opportunities for younger scholars
  • Publication of influential academic studies of electronic literature
  • Practice-based artistic research in the field, with significant presentations and exhibitions of creative work
  • Curatorial activities, particularly including editing and the organization of exhibitions, conferences, workshops, roundtables and research groups
  • Preservationist work, whether individual or institutional
  • Active participation in conferences and exhibitions, both national and international
  • Contribution to ELO as an organization, whether as a member of the Board of Directors or Literary Art Board or as informal advisor

We are delighted to announce this year’s winner of the Marjorie C. Luesebrink Career Achievement Award, Australia-based Mez Breeze.

Mez Breeze, who has been working in electronic literature for decades, is known for “net.art, working primarily with code poetry, electronic literature, mezangelle, and digital games.” Mezangelle is a unique language that blends code and text in what previous winner, N. Katherine Hayles, classifies as a computer-age creole. Mez’s more recent work has led to her collaboration on an episode of “Inanimate Alice” as well as other explorations in Virtual Reality.

As previous winners have done, Mez will be passing the monetary award to a scholar who will be working on the artist’s oeuvre.

Scholar Beneficiary Kate Gwynne is a creative practice PhD candidate at the University of New South Wales, Sydney. Her current research explores character embodiment in Virtual Reality (VR) narratives, specifically works which allow for the self to be experienced as another, and how this transformation is achieved through the embodied possibilities inherent to VR. She holds a masters in prose fiction from the University of East Anglia in Norwich, England and has written for the Guardian and The Conversation.

This year’s three committees were chaired by past-ELO President Joseph Tabbi, who was last year’s Hayles recipient.

ELO awards these prizes at its annual conference. The next conference will be held in Orlando, Florida. The call for next year’s awards will be issued months before via ELO’s Website.

ELO Conference Survey

The ELO Board of Directors– and our conference organizers– are interested in offering the most rewarding conference experiences to its community. In order to continue improving in this mission, your feedback is essential. Please take a moment to provide feedback on the 2019 ELO Conference in Cork (if you attended) and/or on previous ELO conferences. This survey will also allow you to make suggestions for future ELO conferences and events.

This anonymous survey will allow you to be as brief or as thorough as you like. We appreciate and value your feedback!

ELO Cork begins

The 2019 ELO conference has begun!  The conference, hosted at University College Cork, runs July 15-17.  This is the first international conference of digital literature held in Ireland and marks the 13th ELO Conference.

Conference website:  http://elo2019.ucc.ie/
Hashtag: #ELOcork (Twitter, Instagram)
Facebook Page

ELO President Dene Grigar welcomes us to ELO COrk
Conference chair James O’Sullivan at ELO Cork

 

 

 

CFP: ELO 2019 Conference & Media Arts Festival (7/14-16/19; 12/21/18)

ELO 2019 Conference and Media Arts Festival
Peripheries
Cork, Ireland
July 14-16, 2019 (Due: Dec 21, 2018)
Proposals are now being accepted for presentations and exhibition pieces at the annual Electronic Literature Organization Conference and Media Arts Festival, to be held July 15-17, 2019 at University College Cork, Ireland. Electronic literature, or e-lit, refers to literary works wherein computation forms some essential part of the aesthetic. #ELO19 offers an opportunity to share research and creative contributions within an engaging, collegial atmosphere comprising e-lit scholars and practitioners from across the globe.

 

The theme for this year’s ELO gathering is “peripheries”: delegates are invited to explore the edges of literary and digital culture, including emerging traditions, indeterminate structures and processes, fringe communities of praxis, effaced forms and genres, marginalised bodies, and perceptual failings.

#ELO19 will mark the first time that the ELO conference has been hosted by an Irish institution: join us for this momentous gathering!

For more, see:
http://elo2019.ucc.ie/cfp/

Event Highlights Indigenious Storytelling and New Media

2018 Conference Logo

http://bit.ly/indigenouselit
August 14, 2018 UQAM

For Immediate Release

Montreal, Aug 13, 2018 – Indigenous storytelling and experimental new media will take center stage at this year’s conference of the Electronic Literature Organization in Montreal when Jason Edward Lewis and Skawennati present the opening keynote “Mod Cyberspace, Mod the World!” on Tuesday at 11:30am at L’Université du Québec à Montréal (UQAM). Skawennati and Lewis ask what does indegnous new media storytelling look like?

Skawennati and Jason Edward Lewis present their experience as co-directors of the Skins workshops on Aboriginal Storytelling and Digital Media, through which Indigenous youth across Turtle Island have been taught how to make both video games and machinima. Skawennati will explain how and why she adopted the internet as her homebase, touching upon early projects such as CyberPowWow and Imagining Indians in the 25th Century and showing excerpts from TimeTraveller™ and She Falls For Ages.

“The work we have been doing over the last two decades has been aimed at diversifying the kinds of stories we tell, and how they are told,“ explained Lewis.

Skawennati asked, “When you think of an Aboriginal person, what do you see in your mind’s eye? A sepia-toned photograph of a dark-skinned man wearing feathers and buckskin, carrying a tomahawk? Or what about a vibrantly coloured video clip of a dark-skinned man wearing a Starfleet uniform and carrying a tricorder? What about a tan man jetpacking down the flyway, lit by brilliant billboards, seamless nd seemingly endless? Jason and I want to see what Native people look like in the future. We want to visualize it so that, together, with other artists, with youth, and with you, we can make it real.”

With Cherokee, Hawaiian, and Samoan heritage,, Lewis is the Concordia University Research Chair in Computational Media and the Indigenous Future Imaginary as well as Professor of Computation Arts at Concordia University, Montreal. Born in Kahnawake Mohawk Territory, Skawennati is a new media artist. Lewis and Skawennati coordinate Aboriginal Territories in Cyberspace (AbTeC) (http://www.abtec.org/), a research network of artists, academics and technologists investigating, creating and critiquing Indigenous virtual environments.

Lewis asked, “What does it mean to be Onkwehonwe? What does it mean to be kanaka maoli? What does it mean to be a Real Human Being? That is the questions we are asking. What did it mean to our ancestors? What does it mean to us today? What stories are we writing now that will still be told seven generations hence? We are writing the stories now that will define ourselves in the future.”

The conference Attention à la marche / Mind the Gap, this bilingual event will focus on the unique dynamics of electronic literature research in Quebec with an eye toward innovations from around the world.

The Canada Research Chair in Digital Arts and Literature, NT2, Laboratoire de recherche sur les oeuvres hypermédiatiques, the Electronic Literature Organization (ELO) and the Consulate General of France welcome more than 300 digital artists and researchers from some thirty countries at the Université du Québec à Montréal campus from August 13 to 17, 2018.

The conference has three components: an academic conference, an exhibition and a festival. The exhibition will be presented at the Centre de design of UQAM and includes 56 works of digital art by local and international artists. During the festival, 15 artists will offer multimedia performances in three Montreal cultural halls: the Eastern Bloc artists’ centre, Concordia University’s Black Box exhibition hall; and the Écomusée du fier monde.

The Electronic Literature Organization, or ELO, is A 501(c)(3) non­profit organization composed of an international community that includes writers, artists, teachers, scholars, and developers. The Organization’s focus is new literary forms that are made to be read on digital systems, including smartphones, Web browsers, and networked computers. ELO is an international organization of artists and scholars, currently based at Washington State University-Vancouver.

The event is August 14th L’Université du Québec à Montréal (UQAM) at 11:30-12:30 in Pavillon J.-A. DeSève room DS-R510.

For more information or to make a reservation please contact:

Skawennati:
skawennati@gmail.com

Jason Lewis
jason.lewis@concordia.ca

ARIANE SAVOIE
(514) 947-6763

elo2018mtl@gmail.com       http://nt2.uqam.ca/       https://eliterature.org/

ELO 2018: Attention à la marche / Mind the Gap

ELO 2018:
Attention à la marche / Mind the Gap
Literature meets digital culture in Montreal2018 Conference Logohttps://sites.grenadine.uqam.ca/sites/nt2/en/elo2018
August 13-17, 2018

For Immediae Release

Montreal, Aug 3, 2018 – For the first time, Montreal is hosting the Electronic Literature Organizations Conference. With this year’s theme Attention à la marche / Mind the Gap, this bilingual event will focus on the unique dynamics of electronic literature research in Quebec with an eye toward innovations from around the world.

The Canada Research Chair in Digital Arts and Literature, NT2, Laboratoire de recherche sur les oeuvres hypermédiatiques, the Electronic Literature Organization (ELO) and the Consulate General of France welcome more than 300 digital artists and researchers from some thirty countries at the Université du Québec à Montréal campus from August 13 to 17, 2018.

The conference has three components: an academic conference, an exhibition and a festival. The exhibition will be presented at the Centre de design of UQAM and includes 56 works of digital art by local and international artists. During the festival, 15 artists will offer multimedia performances in three Montreal cultural halls: the Eastern Bloc artists’ centre, Concordia University’s Black Box exhibition hall; and the Écomusée du fier monde.

For the occasion, Productions Rhizome from Québec City present the installation Choeur(s), while Brazilian artist Eduardo Kac will unveil his latest work, The Inner Telescope, produced in collaboration with French astronaut Thomas Pesquet aboard the International Space Station.

The opening reception of the conference will take place on August 13th, starting at 6pm, at the Centre de Design. For more details, see the website.

Academic conference: pre-registration required
Exhibition and festival: open to the public
Opening reception: by reservation

For more information or to make a reservation please contact:

ARIANE SAVOIE

elo2018mtl@gmail.com       http://nt2.uqam.ca/       https://eliterature.org/

MLA 2017 Readings & Performances

Join the Electronic Literature Organization for an evening of readings & performances during the Modern Language Association conference in Philadelphia, PA. The event takes place in the Connelly Auditorium (room 806) in the Terra Building at The University of the Arts, on January 5, 2017, from 8-10 p.m.

Dene Grigar and Jennifer Zaylea, Emcees

Performers and Works:

Sandy Baldwin & Gabriel Tremblay-Gaudette, “Poems you should know”

Daniel Anderson, “A Blessing” and “The Red Wheelbarrow”

Kathi Inman Berens, “Abaya”

Helen Burgess, “Anna, Autopoietic”

Caitlin Fisher, “Pareidolia: the Doll Universe”

Riham Hosny, “Salome,” by Mohamed Abdelghani (Yuzerssif)

Anastasia Salter and Bridget Blodgett, “Alt-Right: Ctrl+A; Del”

Liz Losh, “While Chopping Red Peppers” and “The Last Day of Betty Nkomo”

Laura Zaylea,  ”Closer than Rust”

The ELO would like to thank our hosts at The University of the Arts, and in particular Jennifer Zaylea for organizing this event.

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