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Posted By admin On 04.02.20What lies beneath our screens? Can humans read programming languages? Where lies the boundary between human langugage and machine language? The ELR has invited Mez Breeze, artist and writer of new media works, to participate in this interview to talk about code works, Mezangelle and the importance of learning to code. Also, we have tried to draw a distinction between fiction, video games and art in some of her latest works that are characterized by multimodal narrative, game mechanics and VR technology.ELR: Mez Breeze you are an artist and a writer who works with new media.
You began in the early 1990s and your work includes many different literary genres (electronic literature, transmedia, code poetry, codework, literary games, etc) and net art and game art. How did you become interested in digital culture, where did your original inspirations come from?Mez Breeze: If I had to pinpoint a specific catalyst for my interest in digital culture, it’d probably be when researching the Internet for an Arts Institution talk in the early 1990’s. The talk was based on the concept of Cyberspace and was given either in 1992 or 1993, though my Cyberspace interest was piqued originally when I was studying an Applied Social Science degree back in the late 1980’s when I was first introduced to the term.Regarding original inspirations, there’s two that spring to mind: the first being my exposure in 1992 to who I later wrote about/interviewed in Switch Magazine. Their mix of feminism, text/image merging and virtual engagement intrigued me; at the time I was creating mixed-media installations involving painting, computer text and computer hardware. I was prompted by my intrigue with VNS Matrix to Internet-delve in 1994 when using Telnet/Unix, and exploring avatar use and identity-play with other virtual participants through projected text and interactive, game-like fiction. Two of my avatar names from that time included “ms post modemism” and “aeon”.My second main inspiration in relation to digital culture can be traced from my love of gaming. I’ve been a gamer since way back when, madly playing first-person shooters Doom and Quake in the mid 1990’s.
I was also thoroughly immersed in Massively Multiplayer Online RPGs including Everquest and World of Warcraft in which I co-ran a guild for a while and have used these platforms to produce creative projects too. An applied example of inspirations that have filtered down into specific digital works is seen in the sense of space and oddness that you’ll encounter in the “Mo’s Universe” section of All the Delicate Duplicates gameworld: this was in part shaped by my own personal intrigue with language and landscapes in general, and how the vastness of the rural especially like here in Australia can seem open, alien, fascinating. When I was a kid, my Dad would take us on Sunday drives into the countryside, and we’d spend hours trekking through abandoned houses and dilapidated sheds, finding and collecting strange objects – once we explored a half-burnt house where I found several abandoned chess pieces that I kept for years, and remember thinking how weird these objects – designed for placement in a game – seemed when placed outside in the dirt, in a completely different context. It was during these treks that I also came to view the half hour or so before dusk as a weird, fantastical time when anything could happen: when the light shifted so suddenly sometimes that a real sense of almost David-Lynch-like strangeness could result.ELR: This year you released “” (2017) in collaboration with with whom you also worked on: “”, “”, in 2013, and ““, in 2012. The description on the homepage of “All the Delicate Duplicates” states that it is a work of fiction, but it is also a PC game. What relationship exists between video games and literature in your opinion? What is priority in “All the Delicate Duplicates”: the plot or the game mechanics?Mez Breeze: The relationship between video games and literature is a complex one, especially in today’s muddied cultural climate where a proliferation of narrative based games think: walking simulators, indie games, altgames, artgames, XR games, interactive fiction etc has shifted the definition of what constitutes a game, and prompted questions concerning the validity of digitally-produced literature and how both intersect.
There’s been so much said about whether video games can be considered art or as high literature in the past few years that the topic seems played out pardon the games pun! and almost redundant – my feeling is: games can be art, games can be literature, and the combination of game mechanics and literary conventions can act to create emergent artgame/game-art forms.In relation to our literary game “All the Delicate Duplicates”, there’s no clear priority in terms of the plot or game mechanics.
At present, the project consists of two main parts: a narrative game and a fragmented web-based fiction version, both of which delve into the delusional life of a computer engineer named John, his relationship with Charlotte, his daughter, and how the memories and inherited objects of John’s enigmatic relative Mo skew both their lives. We’re currently working on the third aspect of the project to complete an “element trilogy” of sorts: this third angle is being developed as a standalone Virtual Reality or VR work – it presents an angle of the story that is yet to be unpacked.ELR: As an artist and writer who has worked in different fields like literature, video games, and art. Where do you put the boundaries between these different modes of expression? Are there any boundaries at all? Is it possible to correlate the aesthetics of literature, video games, and art?Mez Breeze: In a sense my entire practice has been and continues to be one big creative experiment.
From creating code poetry using Mezangelle back in the 1990’s, to transmedia Alternate Reality Games and “Socumentaries” in late 2000s, to literary and AR games, to VR sculpting/modelling, I see all these modes of expression as elements in a progression web. As long as the work, or experiments, produce engaging and interesting output, I’m there. One fascination I have is how to best embody storytelling in works that are largely viewed as technologically ephemeral VR, AR or XR based and that operate at the intersection of a multitude of boundaries. At present, I’m interested in embodiment here in how it encapsulates a mix of intimacy and identity projection that comes from diving into a high-end VR-based experiences: the immersive quality is entirely different in this type of VR medium in that a VR user has to make a distinct effort to participate, has to don gear that firstly reduces their ability to engage in their actual physical space in standard ways such as their vision and hearing being “co-opted” into the VR space. The leap of faith a user needs to make in order to establish a valid “willing suspension of disbelief” as Coleridge so beautifully phrased it is already set in motion by the fact a user is entirely aware that their actual body is involved in the VR experience haptically, kinetically, as opposed to a more removed projection into a story space via more traditional forms think book reading, movies, tv. In my experience, this body co-opting can lead a user to either be on the alert from the beginning of the VR experience, and so they are harder to get onside in terms of true immersion, or they readily fall into the experience with an absolute sense of wonder.Another example of how I’m constantly prodding and testing creative/mode-based boundaries is how I’m currently using VR to create 3D models/tableaus sculptures?. For example, within 24 hours of first using, I’d created a script for a VR Alphabet Book, as well as the first two 3D models of the 26 animated scenes.
With continued work, this VR-based book will operate through interactive navigation via use of haptic controls that is, primarily by touching objects and invoking movement rather than relying just on the written word as the primary method of conveying meaning. We’re attempting a similar spatial and haptic emphasis through the latest instalment of the, a digitally-born set of stories relating the experiences of Alice in episodes, journals, games, and other digital media.
The latest instalment is a VR Adventure Experience called, a Coproduction between Australia and Canada, that combines aspects of game-like literary storytelling in a Virtual Reality form.ELR: You invented a programming language in 1994 called. You use Mezangelle in your printed book “”.
How are readers supposed ‘to read’ this book? Could you explain to us what aesthetics of computer code means?Mez Breeze: I’m reluctant to suggest or indeed unpack definitive explanations of Mezangelle works and/or computer code aesthetics.
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Works created in Mezangelle are designed to function and meaning-establish via an individual’s own subjective meaning framework. There is no “wrong” way to interpret Mezangelle: many people parse only the poetic underpinnings, whereas some in the code-loop absorb the programming elements or ascii-like symbol. Output is dependent on the structures that are being emulated, mashed, and/or mangled, and again have less to do with my manifest intention and more to do with a more universal lattice-like cohesion. While engaging a Mezangelled text/snippet, a reader/user is encouraged to construct meaning but isn’t necessarily forced to absorb: there’s always the option to omit, to resist in a tumultuously fractured meaning zone that bends and happily shifts comprehension goalposts. Shattered rule-fragments exist there, but determination of meaning depends on an acknowledgment that there is never only one level of interpretation, or an ultimately correct or incorrect option: there is never a singular definitive/functional interpretation involved in order to construct valid meaning.Others have attempted to analyse Mezangelled works on a more granular level: one of the better-known attempts comes from theorist Florian Cramer, who says of one of my earliest codeworks ““: “What seems like an unreadable mess at first, turns out to be subtle and dense if you read closer. The whole text borrows from conventions of programming languages; it presents itself as a program with a title, version number, main routine – indicated with the line “b:g:in” – and several subroutines or objects (which, like in the programming language Perl, are indicated with two double colons).
But the main device are the square brackets which, like in Boolean search expressions, denote that a text can be read in multiple ways. For example, the title reads simultaneously as “Virologic Condition”, “Virologic Conditioning”, “Logic Condition” and “Logic Conditioning”. This technique reminds of the portmanteau words of Lewis Carroll and James Joyce’s “Finnegans Wake”, but is reinvented here in the context of net culture and computer programming.
As the four readings of the title tell already, this particular text is about humans and machines and about a sickness condition of both. The square bracket technique is used to keep the attributions ambiguous.
For example, the two words in the line “::Art.hroboticscopic N.intendostions::” can be read as “arthroscopic” / “art robotic” / “Arthrobotic” / “horoscopic” and “Nintendo” / “intentions” or “DOS”. So the machine becomes arthritic, sick with human disease, and the human body becomes infected with a computer virus; in the end, they recover by “code syrup & brooding symbols”.
So mez has taken ASCII Art, as we can see it in the exhibition above, and Net.art code spamming and refined it from pure visual patterns into a rich semantical private language. She calls it Mezangelle which itself is a mez hybrid for her own name and the word “to mangle”. But why did we accept and shortlist the piece as software art?
In the jury, we defined software art as algorithmic code and/or reflections of cultural concepts of software. In my opinion, mez’ work fits both parts of the definition. Since her square-bracketed expressions expand into multiple meanings, they are executable, that is, a combinatory sourcecode which generates output. But it’s also a sophisticated reflection of cultural concepts of software which rereads the coding conventions of computer programming languages as semantical language charged with gendered politics. It’s imaginary software which executes in the minds of computer-literate human readers, not unlike the Turing Machine which was an imaginary piece of hardware.”ELR: How important is it today to study programming languages? What do you think about the idea of teaching code, like foreign languages, being taught at school?Mez Breeze: It’s a fantastic idea to implement an educational strategy that includes teaching programming languages, absolutely: teaching code as early as possible say, in the primary school curriculum while keeping inclusivity and diversity as a priority as well as emphasising emotional intelligence, a chronically neglected subject would be my preference. Author Posted on Categories Tags,.
Many roads lead to the study of electronic literature – and eventually to the ELR. In this interview Eman Younis, a member of the Arabic Electronic Literature research group, tells us how she found her way to the New Media Studies and what challenges the research group meets when it is faced with cultural issues of tradition-conscious Arabic countries.ELR: Eman Younis you are a member of the. How did you start studying electronic literature and how did this organization come about?Eman Younis: In fact, my interest in Digital Literature started by accident.
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I was looking for material on the Internet about Contemporary Youth writing in preparation for writing my Ph.D. Dissertation in modern Arabic literature. In the course of my search, I came across articles that deal with Digital Literature in general – Arabic and Non-Arabic. The subject drew my attention a lot and aroused my curiosity and I started looking for more and more information about the field. When I was sure that there is sufficient information and data to conduct a scientific research, I decided to change the subject of my dissertation to ‘Digital Literature’. At that time, I was among the first Arab researchers who conducted a scientific research about this genre of literature.Regarding the group of Arab researchers in Digital Literature, they are a small group of researchers whom I joined by recommendation of the scholar.
She thankfully initiated the building up of a special Website under the name of AEL (Arabic Electronic Literature) that aims to put the Arabic Digital Literature on the World Map and introduce its most important Arab creators, researchers and critics in this field to the world.ELR: In 2015 you published the essay titled “” in which you discuss the critical approach to electronic literature. You suggest that an open and dynamic form of expression like electronic literature needs a “hypercritic” that allows the analysis of the audio-visual effects that interact with the literary text. Can you tell us more about this concept? Where is that critic?
Which role does technology play in the analysis of works of electronic literature?Eman Younis: Before I start talking about this term and concept, I want first to talk about the research from which the term emerged. Nearly two years ago, I and one of my colleagues wrote a research about the “Interaction between Art and Literature in Digital Poetry.” We chose the poem “Shajar al-Bougaz/ al-Boughaz Trees” by the Moroccan poet Mun’im al-Azraq to be our sample of discussion and application. It is a very long and compound poem. What characterizes our research is that we are two researchers in two different fields.
She comes from the field of art and I come from the field of literature. We decided to mix between the tools of ‘artistic criticism’ and the tools of ‘literary criticism’ in analyzing the poem and the result was amazing.
We reached conclusions, which we would not reach if each of us worked separately.In this way, the term and concept of ‘Hypercritic’ started to crystallize. We found that the electronic text requires both an extraordinary writer and an extraordinary critic, which we called ‘Hypercritic’, who is a critic that possesses different critical tools that enable him/her to deal with a text within broader horizons. In my opinion, the most important one of these tools is the ‘tools of artistic criticism’ because Electronic Literature goes under the category which has become known by the name of Digital Art. If these tools are not available in one critic, then it is possible to rely on a group of critics from different fields as my colleague and I did in order to analyze the text.Some people might object to the idea of Hypercritic from the point of view that each writer interacts with the text in a different way according to his or her culture, education and vision, but we believe that here lie the aesthetics of the Digital Text.In reply to this claim, I say that we should differentiate between an ordinary reader and ordinary critic. When we talk about the reception of the literary work by the reader/receiver, there is no doubt that the process of interpretation remains confined within the abilities of the readers to decode the text, and each reader might reach with the work to a point that differs from the other reader. In return, when we talk about the reception of the text by a knowledgeable critic, we expect that he/her will reach with it interpretative points that are deeper, more stable and more convincing because his/her conclusions depend on serious theories and critical directions.ELR: The AEL has organized an event together with the Rochester Institute of Technology dedicated to electronic literature which will take place.
What are some of the topics that you are especially looking forward to?Eman Younis: As I have mentioned, the main goal of the conference is to put the Arab Digital Literature on the international map of digital literature. Lots of Western critics do not know anything about Arabic Digital Literature. Besides, they are ignorant of our researches in this field due to the fact that this literature has not been translated into English. In view of this situation, the conference constitutes an opportunity for us to introduce some of the Arabic experiments and the most important academic and scientific researches and studies in this field.In fact, we have put down several axes for this conference. The most important of these are: critical studies; the impact of the social networks on literature; experiences of individual writers; children’s digital literature; challenges and obstacles; future of the Arabic Digital Literature.ELR: What does the panorama of the Arabic electronic literature look like to date? How many authors and academic scholars are there? Is there a development in the community?Eman Younis: Digital Literature appeared in the Arab world in 2001, when Muhammad Sanajleh wrote his first interactive novel titled Zilal al-Wahed/Shadows of Oneself, which was followed by several other works.
Very few Arab writers have followed his steps such as the poets: Abd al-Nur Idris and Mun’im al-Azraq and Muhammad Ashweka from Morocco; the poet Mushtaq Abbas Ma’en from Iraq and others. Despite these attempts, the Arab Digital Literature is still moving very slowly in quantity and quality in comparison with what is taking place in the Western World, not only on the level of the number of texts, but on the level of critical research and studies that accompany these works, and even on the level of electronic sites and magazines that take care of it.In spite of the efforts that are made in the Arab world in this direction, the written literature still occupies the first place in the Arab countries.
However, Digital Literature at this stage seems to be not more than a problematic experience that dangles between the tide and ebb of acceptance and refusal in the critical sectors.Certainly, there are lots of reasons that hinder the rooting and establishment of the digital literature in the Arab countries such as: the political reasons that the Arab world suffers from these days, the economic conditions, and the abysmal digital gap between the developed countries and the developing countries. Digital Literature requires large economic resources and entails high expenses, which are not available to most writers in the developing countries. This situation explains the slow growth of Digital Literature in the Arab world and its absence in some countries of the Third World. Besides, a large number of the Arab writers, especially the older generation, suffer from “Computer Illiteracy”. Generally, the Arab mentality does not accept change and diverting from the familiar conditions easily. What do Scheherazade, a Persian mathematician and the Rochester Institute of Technology have in common?
Electronic literature!The Arabic culture has contributed in many different ways to the history of electronic literature and there are many works of Arabic electronic literature. The ELR has interviewed Reham Hosny, the director of the Arabic Electronic Literature research group which aims to the creation of a network of Arabic authors and scholars and the promotion of Arabic electronic literature.ELR: Reham Hosny you are a member of the. How did you get involved with electronic literature and what is your role in the research group?Reham Hosny: Well, it just so happened that I started working with Sandy Baldwin at WVU and then RIT in my Ph.D. Project, which focused on digital poetics in the Arabic and Anglo-American contexts. I am lucky to be the first Arab scholar to study e-lit internationally with a prominent professor like prof. Baldwin who has become my role model and mentor. By the time, I have participated in many conferences focusing on the development and pedagogy of e-lit and proposing new perspectives on e-lit such as my newly presented concept of Cosmo-Literature.This start opened many avenues for joint projects in the field; an important one of them is.
It is the first project of its kind ever that is interested in globalizing Arabic e-lit and putting it on the world map of the field. Driver impresora hp deskjet 610c. Baldwin and myself noticed that the Arabic e-lit and the Arab e-lit authors are not represented in the world e-lit scene. Much of the digital poetics is drawn from a small range of Anglo-American texts and critics. To get a broader understanding of the field, we should reflect upon different perspectives on e-lit from different parts of the world. We felt that it’s the time to shift the world e-lit community interest from the western e-lit to e-lit in other parts of the globe such as the Arabic e-lit as well as propose new concepts and ideas on e-lit derived from the Arabic culture specificities.In September, 2015, we launched website with many goals in mind: Firstly, uploading the data of Arabic e-lit writers and their works upon the world databases of to be available for researchers. To do that, we created connections and networks with all the Arabs interested in e-lit.
The first stage was completed by uploading the personal data of Arabic e-lit writers. The second stage will include uploading data about their creative works. Secondly, considering holding. There might be a follow-up conference that will take place a year later at the RIT-Rochester campus.
Thirdly, creating academic programs and workshops, publishing research papers on Arabic e-lit works and making comparisons with the world e-lit works to define the place of Arabic e-lit on the world map of e-lit. We will deliver the first of these workshops in the Dubai conference.
Moreover, some research papers in English have come out recently addressing Arabic e-lit aesthetics.Our efforts in the field have already started paying off. For the first time, the Arabic e-lit community was represented on a world interactive map designed by Scott Rettberg depending on the data that we uploaded on ELMCIP.
The Arabic e-lit is more recognized now in the world e-lit community than before.ELR: You participated in the which took place last July in Portugal with a paper entitled “Roots and Shoots: History and Development of Arabic Electronic Literature”. The Arabic culture has an important influence in the electronic literature. The word algorithm, for instance, derives from its inventor Al-Khwarizmi, a Persian mathematician and also the literary work “1001 Nights” is often quoted as an early example of hypertextual work of literature. What is your point of view on this matter?Reham Hosny: The Arabic culture is one of the richest cultures that has its effect on different literary and scientific fields.
The Arabic language is the official language of 22 countries and one of the most spoken languages around the world. The Arabic calligraphy undergone many changes to arrive at its present shape with three components: The plain unpointed letters, a pointing system above or under some letters to differentiate them from other similar letters which is called “i’jam”, and supplementary diacritics that control pronunciation which are called “tashkil”. These three components of the Arabic calligraphy along with its writing from right to left in a cursive way make it a visual language that can be used in decoration and artistic works.In “Roots and Shoots: History and Development of Arabic Electronic Literature”, I addressed the printed genealogies of Arabic e-lit. The reason behind my interest in following these precursors is the fact that “innovative e-poetry will continue to exist in relation to innovative print poetry” as Glazier believes.“Alf Layla wa-Layla” (“One Thousand and One Nights”) which is considered a canonical text in the Arabic cultural heritage since the heydays of the Islamic civilization represents, with its succession of linked stories, a hypertextual precursor to e-lit. The concrete and visual poetry of the Andalusian age in the Twelfth century and the Mamluk and Ottoman ages after that represent rich precursors of e-lit. Moreover, the experimental modern Arabic poetry has many examples that could be considered precursors to Arabic e-lit.ELR: reads that the community intends to look beyond the hegemony of English language. One interesting development in this respect concerns the creation of a programming language in Arabic as we can see in and also in the work of the Quwaiti company Sakhr Computers that arabised the back in the 1980s.
What is your opinion about the development of an Arabic code language?Reham Hosny: Unlike the languages that change every century, the Arabic language is consistent and rich language to the extent that texts from 1400 years back are still readable and understandable. The English language is the dominant language of programming; however, there are some infamous Arabic programming languages.
One of the objects of AEL is to create a network and connections among Arab e-lit writers and programmers for future joint collaboration.Qlb by Ramsey Nasser is an artistic piece that mocks the hegemony of English language in programming to show how biased the field of computer science is. This ambitious work is a good step upon the way of developing programming in languages other than English.Sakhr is the first leading software company in the Middle East that depends on the Arabic language as its main medium. It has played a great role since 1980s in Arabizing some programming languages, manufacturing computers, and providing different kinds of Arabic language-based software.I believe that one day, an Arabic code language will be developed to provide many potentials and privileges to the computer science field.ELR: Another point of the Manifesto is that the community of the Arabic Electronic Literature wishes to expand its field of work and influence. In 2018 the city of Dubai hosts. Could you tell us more about the event?Reham Hosny: As I stated before, holding an international conference on Arabic e-lit is one of the AEL project goals.
The conference will be hold on Feb. We already launched a CFP and received many submissions from all over the world in Arabic and English on the topic of Arabic e-lit. The prominent digital critic Kate Hayles will be the keynote speaker of the conference as well as the Moroccan critic Zohor Gouram. We also organized a meeting with many Arab and international scholars in March, 2017, at RIT Dubai to figure out the details and logistics of the conference.The first workshop of its kind in the Arab World will be delivered at the conference to highlight the digital tools used in creating e-lit and featuring new e-lit genres that are not famous in the Arab World. Additionally, a digital cultural project focusing on the theme of Dubai and Arabic heritage will be coincided with the conference in collaboration with RIT New York and RIT-Dubai.
It is supposed that a model of the project will be presented at the conference and Expo 2020 after that. The scientific and organizing committees of the conference include renowned international and Arab scholars. The conference is organized by RIT, New York, hosted by RIT, Dubai, and sponsored by many great foundations like ELO.ELR: What do you foresee or wish for the future of Arabic literature?Reham Hosny: The field of Arabic e-lit still needs many sincere efforts to explore its potentials and specificities. We need much collaboration with the world e-lit community to get more experiences on the ways of employing digital media in literature. We also need to close the digital divide in the Arabic e-lit community to compete internationally by training young writers how to use advanced software in writing.
A lot of attention should be paid to the Arabic e-lit pedagogy because teaching e-lit in Arabic universities will guarantee its development and circulation. Most Significantly, we are in a bad need of adopting an archiving project because software like Flash is no longer in use that is why some Arabic e-lit pieces were lost.I dream of Arabic electronic literature that helps rediscover the potentials of the Arabic culture and to be represented and appreciated internationally. AEL is a leading initiative in this vein and our future hope is to get more support to complete achieving its message and join the great project as a partner. Author Posted on Categories Tags,. ELR: Judy Malloy, you have engaged in three decades of creative work in the field of electronic literature, beginning with the publication of “” in 1986.
What in your opinion are the most significant moments in the history of electronic literature thus far?Judy Malloy: This is a welcome question. The long and rich history of electronic literature in toto is what is most significant. But there are so many significant moments that I can only mention a few — and even then, it is perhaps a longer answer than expected. Another day the list might be somewhat different. ELR: Dene Grigar, you have been working in the field of media art and electronic literature since the mid-1990s. Could you tell us something about your background and how you became involved with electronic literature?Dene Grigar: Actually, it goes further back than that. In fall 1991 I took a graduate course from the new faculty member, Nancy Kaplan., who specialized in something called hypertext.
We studied books by George Landow and Jay David Bolter, explored software called, and read by Michael Joyce. Having owned a Macintosh computer since 1986 for designing, I took to using it quite easily for writing––and reading. Because of that course and my exposure to electronic literature, I began collecting works from Eastgate Systems’ inventory.
A part of my collection comes from those early purchases.Nancy was Stuart Moulthrop’s partner at the time; they have long since married.ELR: You are a professor, a researcher and you also have successfully directed or curated a number of conferences and exhibits centred on Electronic literature. What can you tell us about your?Dene Grigar: “,” which was the exhibit hosted by the Library of Congress and part of the Electronic Literature Showcase, posed a large challenge for my co-curator, Kathi Inman Berens, and I. What I mean by “challenge” is that the Library of Congress is probably one of the most venerable institutions in the U.S., and it had not yet been actively involved in collecting electronic literature. Our exhibit was the first one of this nature the Library had ever done, so we wanted it to be memorable.
To that end, I rented large iMacs and brought in two of my own vintage Macs for showing older works, shipping all seven of them across the country to Washington D.C. Getting them through the Library’s security due to the necessary precautions took close to three hours. I hand-carried works of electronic literature from my own collection, from Vancouver, WA to D.C., to show along with the electronic literature works found online and the wonderful books and other media the Library contributed. I also brought eight undergraduate students and one alumna with me to assist as docents at the exhibit. This was one of the smartest things I did because the students were immensely well-trained, passionate about electronic literature and the field, and exceptionally hard-working.
So, when the exhibit filled up with visitors, there were 11 of us who could answer questions and guide visitors through the electronic literature, instead of only Kathi and me.Probably the most interesting challenge to surmount, however, was finding the best way to integrate electronic literature with the Library’s collection of books. Originally, when Kathi and I were first invited to curate the exhibit, the discussion centered around remounting the show we had done at the. That exhibit was very large, with 160 works and 10 computer stations. Once she and I conducted a site visit at the Library of Congress and saw the Whittall Pavilion, the space where the show would be held, and gave some thought to the kind of collections the Library has at its disposal, we changed our minds.
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I hit upon the “antecedent” idea and developed a set of parameters for the show that would make sense for the time and place with which we would be working (e.g. A three-day run in a gorgeous but small space).
Drawing upon my research into the electronic literature and artists like Anna Maria Uribe and thinkers like Ted Nelson, it seemed to make sense to lay out the show so that we could make the argument that electronic literature is not some alien art form that dropped down to Earth some far-out planet but, rather, is part of a long tradition of experimentation with literature that has been going on for ages. As someone who studied ancient Greek literature for my PhD, I always wondered what the Homeric poet’s contemporaries were saying (not writing, of course) when they saw that he (or she) was writing the story of the Odyssey. That, in itself, constitutes a literary experiment as strange and exciting as Uribe animating. Dante wrote the Commedia in the vernacular––yet another grand experiment that we living over 700 years later do not even give a thought to. So, the idea was to demonstrate that the drive to create something new and experiment with form in different ways are what visionary artists do.
With that idea in mind, I came up with five approaches––concrete to kinetic, cut up to broken up, pong to literary games, the Great American Novel to multimodal narratives, and artists’ books to electronic art. This plan made it possible for Kathi to research the Library catalogs and identify works from the collections that fit well with this vision and, so, made our case. She also developed the third aspect of our exhibit: the creation stations. This was a “maker” area where visitors could create literary art themselves.
For example, visitors could look at ee cummings’ concrete poem, walk across the aisle and see Dan Waber’s kinetic poem,“,” and then walk across the aisle and make their own concrete poem on the typewriter that Susan Garfinkel, our collaborator from the Library, brought from her own collection.To be honest, a lot was riding on the exhibit. Obviously, we were promoting electronic literature to a new audience, moving it from academic conferences to a library, where Literature (with a capital L) is generally found. It wasn’t just any library but the most important one in the country. So, the show had to be good.But more than good, the show had to make it clear that curating counts as scholarship. This was a personal goal that I set for myself for “Electronic Literature and Its Emerging Forms.” You see, I work in the intersection of media art, digital humanities, and media studies. While my colleagues in media art are very comfortable with the notion that curating is a scholarly activity, the other two fields are still deliberating about it and trying to figure out how curating counts for tenure and promotion.