The Alan Sondheim Mail Archive

This is an archive of works sent by Alan Sondheim to various mailing lists. The most recent messages (also available as an Atom feed) are below.

Browse by year: 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014

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If you have any comments, please contact Decklin Foster, who runs this site.


Qincave D. Articulation structures

http://www.alansondheim.org/qincave10.jpg
http://www.alansondheim.org/qincaveD.mp4

Azure Carter, performer-follower. the qin guides
her movements which further articulate the space-
scrawl. two and a half minutes from a five minute
performance.

http://www.alansondheim.org/qincaveF.mp4

Solo qin improvisation in the cave with head-
mounted display only, follows on qincaveE.mp4.

Qincave E.: solo qin with image manipulation

http://www.alansondheim.org/qincave47.jpg
http://www.alansondheim.org/qincaveE.mp4

The Cave wand was attached to my left wrist.
I had the opportunity to play free-rein.
The organization is Ch'an, koan-abrupt.
My fingers danced in Heaven. My fingers
danced above the tone pond. The microphone
howled near the dragon pool; I moved the
microphone. My hands danced in Heaven. In
Heaven, my arms danced. My shoulders
danced. Koan abrupt, my fingers danced.
The organization had nothing to do with
Ch'an. I don't know where Heaven is. A
koan is corrupt. I had the opportunity to
play and here something emerged. Please,
it is eight minutes, play in background.

Qincave E.: solo qin with image manipulation

http://www.alansondheim.org/qincave47.jpg
http://www.alansondheim.org/qincaveE.mp4

The Cave wand was attached to my left wrist.
I had the opportunity to play free-rein.
The organization is Ch'an, koan-abrupt.
My fingers danced in Heaven. My fingers
danced above the tone pond. The microphone
howled near the dragon pool; I moved the
microphone. My hands danced in Heaven. In
Heaven, my arms danced. My shoulders
danced. Koan abrupt, my fingers danced.
The organization had nothing to do with
Ch'an. I don't know where Heaven is. A
koan is corrupt. I had the opportunity to
play and here something emerged. Please,
it is eight minutes, play in background.

qincave A.B.C.

http://www.alansondheim.org/qincave55.jpg
http://www.alansondheim.org/qincaveA.mp4
http://www.alansondheim.org/qincaveB.mp4
http://www.alansondheim.org/qincaveC.mp4

qincaveA. four-minute slow improvisation recorded close-in,
sound from qin and amplifier, visual echo added paralleling
acoustic resonance.
qincaveB. color-shadow moire patterns occasioned by the Cave
projector flicker for 3-d virtual reality. qin played open
strings only.
qincaveC. improvisation with head-mounted display transforming
the 3-d environment. sound from camera, raised-pitch vibration
meter, amplifier, and mic beneath the instrument,

                                 O cavernous love O emerald bone
and filE
photographing inside animal holes and those cavernous spaces
beneath the hollow out; cavernous, wrung with the memory of
weeping, thick braids The hanger was large and cavernous and
damp. The ground was hard and showed it. cavernous lead south.
on scrawled inscription, foe, food, fool, meek and keen,
                                 O cavernous love O emerald bone
and filE cavernous, wrung weeping, braids curl bathing
underground lake. silver is,_ restored tarns and pools. hanger
cavernous damp. dry. suns tension. beings,
                                 O cavernous love O emerald bone
animal holes and those cavernous spaces beneath the
hollowed out, cavernous, wrung with the memory of weeping, thick
to the hanger large and cavernous and damp. The ground for them,
their caverns for final furious show it. cavernous lead south.
                                 O cavernous love O emerald bone
know cavernous, wrung weeping, braids curl bathing underground
restored tarns and pools. hanger cavernous damp. dry. suns
tension, hollowed out, cavernous, wrung with the large and
cavernous and damp. The ground was hard and hollowed out;
cavernous, wrung with the memory of weeping, thick braids,
cavernous and damp, hollowed out, wrung with the memory of
weeping, thick braids, the hanger was large and cavernous and
damp. The ground was hard and harder.

qincave A.B.C.

http://www.alansondheim.org/qincave55.jpg
http://www.alansondheim.org/qincaveA.mp4
http://www.alansondheim.org/qincaveB.mp4
http://www.alansondheim.org/qincaveC.mp4

qincaveA. four-minute slow improvisation recorded close-in,
sound from qin and amplifier, visual echo added paralleling
acoustic resonance.
qincaveB. color-shadow moire patterns occasioned by the Cave
projector flicker for 3-d virtual reality. qin played open
strings only.
qincaveC. improvisation with head-mounted display transforming
the 3-d environment. sound from camera, raised-pitch vibration
meter, amplifier, and mic beneath the instrument,

                                 O cavernous love O emerald bone
and filE
photographing inside animal holes and those cavernous spaces
beneath the hollow out; cavernous, wrung with the memory of
weeping, thick braids The hanger was large and cavernous and
damp. The ground was hard and showed it. cavernous lead south.
on scrawled inscription, foe, food, fool, meek and keen,
                                 O cavernous love O emerald bone
and filE cavernous, wrung weeping, braids curl bathing
underground lake. silver is,_ restored tarns and pools. hanger
cavernous damp. dry. suns tension. beings,
                                 O cavernous love O emerald bone
animal holes and those cavernous spaces beneath the
hollowed out, cavernous, wrung with the memory of weeping, thick
to the hanger large and cavernous and damp. The ground for them,
their caverns for final furious show it. cavernous lead south.
                                 O cavernous love O emerald bone
know cavernous, wrung weeping, braids curl bathing underground
restored tarns and pools. hanger cavernous damp. dry. suns
tension, hollowed out, cavernous, wrung with the large and
cavernous and damp. The ground was hard and hollowed out;
cavernous, wrung with the memory of weeping, thick braids,
cavernous and damp, hollowed out, wrung with the memory of
weeping, thick braids, the hanger was large and cavernous and
damp. The ground was hard and harder.

QinCave: New Qin Music from the Brown University Cave


http://www.alansondheim.org/qincave34.jpg
http://www.alansondheim.org/crystal4.mp3
http://www.alansondheim.org/crystal6.mp3
http://www.alansondheim.org/crystal7.mp3
http://www.alansondheim.org/qincave07.jpg
http://www.alansondheim.org/qincave13.jpg
http://www.alansondheim.org/qincave46.jpg

The Qing dynasty qin was played in the Brown University Cave. I
noticed that the Cave formed a resonant chamber or sound box.
The goose-feet (yen-tsu) rested either directly on the floor, or
on a wooden board - in both cases transmitting the sound
directly to the chamber floor. For the straight-forward audio
recording, an instrument mic and vibration meter were used; the
meter was wedged against the chamber floor and a structural
support, and the instrument mic was placed directly underneath
the instrument. A second mic also led to an instrument amplifier
facing away from the chamber; its sound was recorded with the
video camera, but didn't interfere with the straight audio,
which was fed into a Zoom H4n. The whole chamber was 'live,' as
were the images; the Cave wand and control glasses were worn
either by me or Kathleen or Azure imitating the qin moves. The
other end of the qin rested either on a board or on my leg;
playing the instrument in a dim colored light, close to the
floor, was difficult but not impossible. The four images show
the arrangement under various conditions. The three audio pieces
demonstrate the use of H4n output; the sound was raised two to
three octaves, so that the ambiance recorded by the vibration
meter would be audible. In some cases I chose to raise the pitch
of the instrument mic as well; the general contours of the
improvised pieces changed with each adjustment. When playing, I
also made use of sounding the strings to the left of my left-
hand stopping; this produced a non-resonant high-pitched series
of tones which were more controllable than I thought they would
be. The session was two and three-quarters hours, during which
thirteen videos and audio tracks, as well as over fifty images,
were produced. I will release these as processed over the next
few days. I'd never heard a qin sound so resonant as it did in
this chamber; for this reason, I thought of 'crystal' as a
generic name for the processed audio. Since the qin mythos
reflects the cosmos, one way or another, it was fitting to work
with sound inhabiting the space, just as the Cave writing and
movement did. Together they created a miniature, fragile
cosmology which needs more exploration. Thanks to John Cayley
for the opportunity to work in the Cave, Kathleen Ottinger for
assisting and performing, Azure Carter for performance, video,
audio, and song, and Stephen Dydo for restoring the qin.

QinCave: New Qin Music from the Brown University Cave


http://www.alansondheim.org/qincave34.jpg
http://www.alansondheim.org/crystal4.mp3
http://www.alansondheim.org/crystal6.mp3
http://www.alansondheim.org/crystal7.mp3
http://www.alansondheim.org/qincave07.jpg
http://www.alansondheim.org/qincave13.jpg
http://www.alansondheim.org/qincave46.jpg

The Qing dynasty qin was played in the Brown University Cave. I
noticed that the Cave formed a resonant chamber or sound box.
The goose-feet (yen-tsu) rested either directly on the floor, or
on a wooden board - in both cases transmitting the sound
directly to the chamber floor. For the straight-forward audio
recording, an instrument mic and vibration meter were used; the
meter was wedged against the chamber floor and a structural
support, and the instrument mic was placed directly underneath
the instrument. A second mic also led to an instrument amplifier
facing away from the chamber; its sound was recorded with the
video camera, but didn't interfere with the straight audio,
which was fed into a Zoom H4n. The whole chamber was 'live,' as
were the images; the Cave wand and control glasses were worn
either by me or Kathleen or Azure imitating the qin moves. The
other end of the qin rested either on a board or on my leg;
playing the instrument in a dim colored light, close to the
floor, was difficult but not impossible. The four images show
the arrangement under various conditions. The three audio pieces
demonstrate the use of H4n output; the sound was raised two to
three octaves, so that the ambiance recorded by the vibration
meter would be audible. In some cases I chose to raise the pitch
of the instrument mic as well; the general contours of the
improvised pieces changed with each adjustment. When playing, I
also made use of sounding the strings to the left of my left-
hand stopping; this produced a non-resonant high-pitched series
of tones which were more controllable than I thought they would
be. The session was two and three-quarters hours, during which
thirteen videos and audio tracks, as well as over fifty images,
were produced. I will release these as processed over the next
few days. I'd never heard a qin sound so resonant as it did in
this chamber; for this reason, I thought of 'crystal' as a
generic name for the processed audio. Since the qin mythos
reflects the cosmos, one way or another, it was fitting to work
with sound inhabiting the space, just as the Cave writing and
movement did. Together they created a miniature, fragile
cosmology which needs more exploration. Thanks to John Cayley
for the opportunity to work in the Cave, Kathleen Ottinger for
assisting and performing, Azure Carter for performance, video,
audio, and song, and Stephen Dydo for restoring the qin.

death of representation

http://www.alansondheim.org/pourtrait.png
http://www.alansondheim.org/pourtrait.mp4

i'm sick of pictures.
i can't make more pictures.
everything i touch dies. i touch myself.
i can't make more pictures of myself.
i was embedded in machinery and i'm not embedded in machinery.
i look in the machinery of a mirror and my bones fall off.
my bones fall off before i'm robbed of them.
before i'm robbed of neoliberalism.
before late capitalism's stolen from me.
before i plead guilty for being alive.
i plead guilty! i am still alive!

death of representation

http://www.alansondheim.org/pourtrait.png
http://www.alansondheim.org/pourtrait.mp4

i'm sick of pictures.
i can't make more pictures.
everything i touch dies. i touch myself.
i can't make more pictures of myself.
i was embedded in machinery and i'm not embedded in machinery.
i look in the machinery of a mirror and my bones fall off.
my bones fall off before i'm robbed of them.
before i'm robbed of neoliberalism.
before late capitalism's stolen from me.
before i plead guilty for being alive.
i plead guilty! i am still alive!

---------- Forwarded message ----------
Date: Wed, 17 Sep 2014 17:03:04
From: Mark Marino <markcmarino@gmail.com>
To: announce@eliterature.org
Subject: [ELO] CFP: ELO2015 Bergen, Norway (12/15; 8/5-7/14)


Dear ELO,

Scott Rettberg has sent us the call. Please help us circulate it!

Best,
Mark


CALL FOR CONTRIBUTIONS

ELO 2015 CONFERENCE - BERGEN, NORWAY

THE END(S) OF ELECTRONIC LITERATURE

The 2015 Electronic Literature Organization conference and festival will
take place August 5-7th 2015. The conference website is at:
http://conference.eliterature.org. The conference will be hosted by the
Bergen Electronic Literature research group at the University of Bergen,
Norway with sessions at venues including the University of Bergen, Det
Akademiske Kvarteret, the Bergen Public Library, the University of Bergen
Arts library, and local arts venues. Bergen is Norway's second-largest city,
known as the gateway to the fjords, a festival city and cultural center with
a lively and innovative arts scene.

DEADLINES

The deadline for submissions of research, workshop, and arts proposals is
December 15, 2014.

CONFERENCE THEME

The theme of the 2015 Electronic Literature Organization conference and
festival is ?The End(s) of Electronic Literature.? This theme plays on several
different meanings of ?ends.? Topics the conference papers and works will
explore include:

Is ?electronic literature? a transitional term that will become obsolete as
literary uses of computational media and devices become ubiquitous? If so,
what comes after electronic literature?

We can also question in what sense electronic literature and digital writing
practices are a means to an end. If so, what are the ends of electronic
literature? What political, ideological, aesthetic, and commercial ends or
purposes do works of electronic literature serve?

In recent years, projects such as the ELMCIP Electronic Literature Knowledge
Base have sought to highlight the work of scholars and artists who have
worked outside of the mainstream of electronic literature as it has
developed as a field, for instance developing research collections based on
Russian and Brazilian electronic literature. This conference will seek to
shed further light on international communities and practices in electronic
literature that have not been widely addressed in the critical literature of
the field, those that are located at the ?ends? or margins of critical discourse
in the field.

Electronic literature is situated as an intermedial field of practice,
between literature, computation, visual and performance art. The conference
will seek to develop a better understanding of electronic literature?s
boundaries and relations with other academic disciplines and artistic
practices.

As a laboratory for future literary forms, the field of electronic
literature must count the youngest readers among its most significant group
of end-users. One strand of this conference will focus specifically on
digital reading experiences made for children.

RESEARCH PROGRAM

For the conference research program we welcome contributions that address
the conference themes. Most proposals will likely describe a scholarly
presentation suitable for delivery in about 20 minutes, with time for
questions. However we also welcome propsals for other forms of talks. At the
time of proposal submission, authors will asked identify one of following
presentation formats:

Paper (20 minute presentation): a presentation of a single by one or more
paper by one or more authors (500 word abstract)

Panel (75 minutes): a proposal for a complete panel including separate
papers on the same general topic (250 word overview plus 3-4 500 word
abstracts).

Roundtable (1 hour): a group presentation of a particular topic emphasizing
free-flowing discussion and audience interaction (500 word abstract).

Lightning talk (5 minutes): a short paper for a session focused on the
question ?What comes after electronic literature?? (250 word abstract).

Proposers must attend the conference. Speakers may not present in more than
two sessions.

Presentations may include elements of demonstration or performance, as part
of a discussion that goes beyond the work itself. With this stipulation,
proposers are welcome to address their own work.

Submissions for the research program will be accepted from September
15th-December 15th, 2014 on Easychair:
https://easychair.org/conferences/?conf=elo2015

Proposals will be peer-reviewed by the Research Program Committee. Papers
will be accepted on the basis of abstracts. Although we will not require, we
will encourage authors of papers accepted for the conference to make
full-text versions of their papers available on the conference site prior to
the conference. Authors of selected full paper submissions may be invited to
contribute to a book or special issue of a journal to be published shortly
after the conference. This publication opportunity will not be available to
authors who do not upload their full-text papers.

WORKSHOP PROGRAM

We welcome proposals for pre-conference workshops to take place on Tuesday,
August 4th at the University of Bergen.

Workshop sessions are focused on hands-on group work on a given project. For
instance, working with a particular platform to learn how to use it to
create works of e-lit, documenting work in a given database, sharing
pedagogical models, curating electronic literature, etc. Workshops sessions
are generally half-day (3 hour) or full-day (6 hour) sessions.

Proposals will be reviewed by the Workshop Program Committee and selected on
the basis of their value to the e-lit community and available facilities to
accommodate them.

Submissions for the workshop program will be accepted from September
15th-December 15th, 2014 on Easychair:
https://easychair.org/conferences/?conf=elo2015

ARTS PROGRAM

The Arts Program provides an occasion for juried review, and extended
display, performance, and presentation, of original works.

The Committee especially welcomes submissions from artists who are new to
electronic literature or who are in the beginning stages of their e-literary
artistic production.

The Arts program will feature several exhibitions and a performance program
that coheres with the conference themes. Submissions are being accepted for
the following parts of the exhibition and performance program:

Hybridity and Synesthesia: Beyond Peripheries of Form and Consciousness
This aspect of the program will emphasize works, particularly installations,
that push at the edges of literature and other forms, and that appeal to
other aspects of the sensorium than those we typically associate with
reading. Works for example that involve haptic sensation, touch-based
interactivity, innovative audio elements, interactive images, or locative
technologies.

Interventions: Engaging the Body Politic
This exhibition will feature works that engage with contemporary cultural
discourse and political reality, challenging audiences to consider digital
artifacts and practices that reflect and intervene in matters of the
environment, social justice, and our relation to the habitus.

Decentering: Global Electronic Literature
While there are strong centers of activity in electronic literature in North
America and Western Europe, innovations in digital textuality are also
taking place in Eastern Europe and in the Southern hemisphere. This
exhibition will focus on these lesser-known phenomena.

Kid-E-Lit: Digital Narratives for the Young
The first generation of digital natives is finding a plethora of apps and
interactive digital narratives made for their iPads and computers, perhaps
learning how to think in a new digital vernacular. This exhibition will
focus on innovations in digital reading experiences for children.

Screening Room: E-Lit Film Festival
The first ELO film festival will feature films that have been produced
recently about electronic literature and related practices, and will also
include screenings of types of digital literature that benefit from
sustained watching, such as poetry generators and kinetic poetry.

End(s) of Electronic Literature Performances and Readings
This aspect of the program will feature live readings and performances of
works of electronic literature. Authors are encouraged to think broadly
about modes of performance, ranging from traditional readings to more
theatrical styles of presentation, and to consider opportunities for
site-specific interventions in public space.

Submissions for above parts of the Arts program will be accepted from
September 15th-December 15th on Easychair:
https://easychair.org/conferences/?conf=elo2015

ELC3 Preview Exhibition
Volume 1 (2006) and Volume 2 (2011) of the Electronic Literature Collection
have been influential anthologies that helped shape the field. Volume 3
(2016) is now open for submissions. This exhibition will feature selected
works from the latest instantiation of this important publication. The
editors of ELC3 will curate this selection. To submit work for the ELC3,
see: http://eliterature.org/2014/08/announcing-the-elc3 (ELC3 submission
deadline Nov. 5, 2014)

Selections will be made via a two-step jury review process. Members of the
arts program committee will first review submissions, and then curators for
each track of the program will select works from among those ranked most
positively by the committee. Final selections will depend on available
resources and constraints of individual venues.

ORGANIZATION

Conference Chair: Scott Rettberg

Research Program Chair: Jill Walker Rettberg

Arts Program Chair: Roderick Coover

Research Program Committee: Espen Aarseth, Daniel Apollon, Sandy Baldwin,
Laura Borras Castanyer, Yra van Dijk, Maria Engberg, Nina Goga, Dene Grigar,
Davin Heckman, Raine Koskimaa, Nick Montfort, S?ren Pold, ?yvind Prytz, Hans
Kristian Rustad, Jessica Pressman, Eric Dean Rasmussen, Scott Rettberg,
Alexandra Saemmer, and Joseph Tabbi.

Workshop Program Committee: Deena Larsen, Marjorie C. Luesebrink, and
Patricia Tomaszek.

Arts Program Committee: Simon Biggs, Philippe Bootz, Serge Bouchardon, Kathi
Inman Berens, JR Carpenter, Roderick Coover, Mark Daniels, Anne Marthe Dyvi,
Natalia Fedorova, Chris Funkhouser, Dene Grigar, Claudia Kozak, Talan
Memmott, Maria Mencia, Judd Morrissey, Scott Rettberg, Stephanie Strickland,
Rui Torres, Michelle Teran, and Jeremy Welsh.

PLEASE CIRCULATE

If you know of friends, colleagues, or organizations not aware of ELO or
this conference, please feel free to circulate this Call. A PDF version is
available.
CALL FOR CONTRIBUTIONS

ELO 2015 CONFERENCE - BERGEN, NORWAY

THE END(S) OF ELECTRONIC LITERATURE

The 2015 Electronic Literature Organization conference and festival will take place August 5-7th 2015. The conference website is at: http://conference.eliterature.org. The conference will be hosted by the Bergen Electronic Literature research group at the University of Bergen, Norway with sessions at venues including the University of Bergen, Det Akademiske Kvarteret, the Bergen Public Library, the University of Bergen Arts library, and local arts venues. Bergen is Norway's second-largest city, known as the gateway to the fjords, a festival city and cultural center with a lively and innovative arts scene.

DEADLINES

The deadline for submissions of research, workshop, and arts proposals is December 15, 2014.

CONFERENCE THEME

The theme of the 2015 Electronic Literature Organization conference and festival is �The End(s) of Electronic Literature.� This theme plays on several different meanings of �ends.� Topics the conference papers and works will explore include:

Is �electronic literature� a transitional term that will become obsolete as literary uses of computational media and devices become ubiquitous? If so, what comes after electronic literature?

We can also question in what sense electronic literature and digital writing practices are a means to an end. If so, what are the ends of electronic literature? What political, ideological, aesthetic, and commercial ends or purposes do works of electronic literature serve?

In recent years, projects such as the ELMCIP Electronic Literature Knowledge Base have sought to highlight the work of scholars and artists who have worked outside of the mainstream of electronic literature as it has developed as a field, for instance developing research collections based on Russian and Brazilian electronic literature. This conference will seek to shed further light on international communities and practices in electronic literature that have not been widely addressed in the critical literature of the field, those that are located at the �ends� or margins of critical discourse in the field.

Electronic literature is situated as an intermedial field of practice, between literature, computation, visual and performance art. The conference will seek to develop a better understanding of electronic literature�s boundaries and relations with other academic disciplines and artistic practices.

As a laboratory for future literary forms, the field of electronic literature must count the youngest readers among its most significant group of end-users. One strand of this conference will focus specifically on digital reading experiences made for children.

RESEARCH PROGRAM

For the conference research program we welcome contributions that address the conference themes. Most proposals will likely describe a scholarly presentation suitable for delivery in about 20 minutes, with time for questions. However we also welcome propsals for other forms of talks. At the time of proposal submission, authors will asked identify one of following presentation formats:

Paper (20 minute presentation): a presentation of a single by one or more paper by one or more authors (500 word abstract)

Panel (75 minutes): a proposal for a complete panel including separate papers on the same general topic (250 word overview plus 3-4 500 word abstracts).

Roundtable (1 hour): a group presentation of a particular topic emphasizing free-flowing discussion and audience interaction (500 word abstract).

Lightning talk (5 minutes): a short paper for a session focused on the question �What comes after electronic literature?� (250 word abstract).

Proposers must attend the conference. Speakers may not present in more than two sessions.

Presentations may include elements of demonstration or performance, as part of a discussion that goes beyond the work itself. With this stipulation, proposers are welcome to address their own work.

Submissions for the research program will be accepted from September 15th-December 15th, 2014 on Easychair: https://easychair.org/conferences/?conf=elo2015

Proposals will be peer-reviewed by the Research Program Committee. Papers will be accepted on the basis of abstracts. Although we will not require, we will encourage authors of papers accepted for the conference to make full-text versions of their papers available on the conference site prior to the conference. Authors of selected full paper submissions may be invited to contribute to a book or special issue of a journal to be published shortly after the conference. This publication opportunity will not be available to authors who do not upload their full-text papers.

WORKSHOP PROGRAM

We welcome proposals for pre-conference workshops to take place on Tuesday, August 4th at the University of Bergen.

Workshop sessions are focused on hands-on group work on a given project. For instance, working with a particular platform to learn how to use it to create works of e-lit, documenting work in a given database, sharing pedagogical models, curating electronic literature, etc. Workshops sessions are generally half-day (3 hour) or full-day (6 hour) sessions.

Proposals will be reviewed by the Workshop Program Committee and selected on the basis of their value to the e-lit community and available facilities to accommodate them.

Submissions for the workshop program will be accepted from September 15th-December 15th, 2014 on Easychair: https://easychair.org/conferences/?conf=elo2015

ARTS PROGRAM

The Arts Program provides an occasion for juried review, and extended display, performance, and presentation, of original works.

The Committee especially welcomes submissions from artists who are new to electronic literature or who are in the beginning stages of their e-literary artistic production.

The Arts program will feature several exhibitions and a performance program that coheres with the conference themes. Submissions are being accepted for the following parts of the exhibition and performance program:

Hybridity and Synesthesia: Beyond Peripheries of Form and Consciousness
This aspect of the program will emphasize works, particularly installations, that push at the edges of literature and other forms, and that appeal to other aspects of the sensorium than those we typically associate with reading. Works for example that involve haptic sensation, touch-based interactivity, innovative audio elements, interactive images, or locative technologies.

Interventions: Engaging the Body Politic
This exhibition will feature works that engage with contemporary cultural discourse and political reality, challenging audiences to consider digital artifacts and practices that reflect and intervene in matters of the environment, social justice, and our relation to the habitus.

Decentering: Global Electronic Literature
While there are strong centers of activity in electronic literature in North America and Western Europe, innovations in digital textuality are also taking place in Eastern Europe and in the Southern hemisphere. This exhibition will focus on these lesser-known phenomena.

Kid-E-Lit: Digital Narratives for the Young
The first generation of digital natives is finding a plethora of apps and interactive digital narratives made for their iPads and computers, perhaps learning how to think in a new digital vernacular. This exhibition will focus on innovations in digital reading experiences for children.

Screening Room: E-Lit Film Festival
The first ELO film festival will feature films that have been produced recently about electronic literature and related practices, and will also include screenings of types of digital literature that benefit from sustained watching, such as poetry generators and kinetic poetry.

End(s) of Electronic Literature Performances and Readings
This aspect of the program will feature live readings and performances of works of electronic literature. Authors are encouraged to think broadly about modes of performance, ranging from traditional readings to more theatrical styles of presentation, and to consider opportunities for site-specific interventions in public space.

Submissions for above parts of the Arts program will be accepted from September 15th-December 15th on Easychair: https://easychair.org/conferences/?conf=elo2015

ELC3 Preview Exhibition
Volume 1 (2006) and Volume 2 (2011) of the Electronic Literature Collection have been influential anthologies that helped shape the field. Volume 3 (2016) is now open for submissions. This exhibition will feature selected works from the latest instantiation of this important publication. The editors of ELC3 will curate this selection. To submit work for the ELC3, see: http://eliterature.org/2014/08/announcing-the-elc3 (ELC3 submission deadline Nov. 5, 2014)

Selections will be made via a two-step jury review process. Members of the arts program committee will first review submissions, and then curators for each track of the program will select works from among those ranked most positively by the committee. Final selections will depend on available resources and constraints of individual venues.

ORGANIZATION

Conference Chair: Scott Rettberg

Research Program Chair: Jill Walker Rettberg

Arts Program Chair: Roderick Coover

Research Program Committee: Espen Aarseth, Daniel Apollon, Sandy Baldwin, Laura Borras Castanyer, Yra van Dijk, Maria Engberg, Nina Goga, Dene Grigar, Davin Heckman, Raine Koskimaa, Nick Montfort, S�ren Pold, �yvind Prytz, Hans Kristian Rustad, Jessica Pressman, Eric Dean Rasmussen, Scott Rettberg, Alexandra Saemmer, and Joseph Tabbi.

Workshop Program Committee: Deena Larsen, Marjorie C. Luesebrink, and Patricia Tomaszek.

Arts Program Committee: Simon Biggs, Philippe Bootz, Serge Bouchardon, Kathi Inman Berens, JR Carpenter, Roderick Coover, Mark Daniels, Anne Marthe Dyvi, Natalia Fedorova, Chris Funkhouser, Dene Grigar, Claudia Kozak, Talan Memmott, Maria Mencia, Judd Morrissey, Scott Rettberg, Stephanie Strickland, Rui Torres, Michelle Teran, and Jeremy Welsh.

PLEASE CIRCULATE

If you know of friends, colleagues, or organizations not aware of ELO or this conference, please feel free to circulate this Call. A PDF version is available_______________________________________________
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