|
Pax: an instrument |
Stuart Moulthrop |
2003 |
textual instrument, terror, insecurity, embodiment, characters, avatars, play, configuration |
|
Pedro Vitorino Olivera |
|
|
|
|
Peggy Hughes |
|
|
|
|
Pentagonal |
Carlos Labbé |
2001 |
hypertext, non-linear, simulation, email, digital poem |
|
Pentameters Toward the Dissolution of Certain Vectorialist Relations |
John Cayley |
2012 |
digital poetry, digital poetics, Google, reading, performance, critical theory, discourse networks, commons, computationalist linguistics, algorithm |
|
Penumbra |
Samantha Gorman, Danny Cannizzaro |
2011 |
tablet, ipad, fiction, point of view |
|
Per Martinsen |
|
|
|
|
Perforations |
|
|
|
|
Performance and the Digital Text |
Jerome Fletcher |
2012 |
digital textuality, performance, textuality, context, event |
|
Performance of Code: Jörg Piringer in Conversation with J. R. Carpenter |
Jörg Piringer, J. R. Carpenter |
2012 |
|
|
Perihelion |
|
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|
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Perspectiva |
|
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Peter Howard |
|
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|
|
Peter Kay |
|
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|
|
Peter-Clement Woetmann |
|
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|
|
Petits Poems a Lecture Inconfortable |
Philippe Bootz |
2007 |
|
|
Philip Wohlstetter |
|
|
|
|
Philippe de Jonckheere |
|
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|
|
Phillipa J. Burne |
|
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PHONE:E:ME |
Mark Amerika |
1999 |
|
|
Pierre Albert-Birot |
|
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Piers Hugill |
|
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|
|
Pinzas de metal |
Tina Escaja |
2003 |
|
|
Piotr Marecki |
|
|
|
|
Play On: Plot and Pause Points in Hypermedia Narrative |
Marjorie C. Luesebrink |
2000 |
|
|
Playable Media and Textual Instruments |
Noah Wardrip-Fruin |
2005 |
game, interactive, hypertext, play, textual instrument |
|
Players only Love you when they’re Playin': Community as Algorithm in Programmable Poetics |
Chris Funkhouser, Andrew Klobucar |
2012 |
|
|
Pluto Press |
|
|
|
|
Po-Ex archive and Exhibition Possibilities |
Rui Torres |
2012 |
|
|
PO.EX '70-80: The Electronic Multimodal Repository |
Rui Torres, Manuel Portela |
2011 |
experimental literature poesia experimental digital archives, emulation, video poetry, sound poetry, concrete poetry, visual poetry, electronic literature |
|
Poèmes cumulatifs, en coups d'oeil, avec autoportrait |
Alexandre Gherban |
2007 |
generation, deconstruction, accretion, accumulation, manipulation, audio, user input, poetry, self-portrait, Shockwave |
|
Poems That Go |
|
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Poesia |
|
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|
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Poesia Visual 2: Totem de Andre Vallias |
|
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|
Poetic Machines: an investigation into the impact of the characteristics of the digital apparatus on poetic expression |
Jeneen Naji |
2012 |
poetry, epoetry, electronic poetry, digital poetry, new media, translation, technosocialism, literary theory, digital media, cybernetic, meaning making |
|
Poetic Machines: From Paper to Pixels |
Jeneen Naji |
2012 |
|
|
Poetics and Visuality: A Trajectory of Contemporary Brazilian Poetry |
Philadelpho Menezes |
1994 |
visual poetry, antecedents, Brazilian elit |
|
Poetry Confronting Digital Media |
Giovanna Di Rosario |
2011 |
poetry, poetics, digital poetics |
|
Poetry Goes Intermedia: US-amerikanische Lyrik des 20. und 21. Jahrhunderts aus kultur- und medienwissenschaftlicher Perspektive |
Martina Pfeiler |
2010 |
poetry, digital poetry |
|
Poetry, Patterns, and Provocation: The nora Project |
Matthew G. Kirschenbaum |
2011 |
|
|
Poetry@science? – slippingglimpse Stephanie Strickland, Cynthii Lawson Jaramillo i Paula Ryana |
Monika Górska Olesińska |
2011 |
|
|
Poets & Writers Magazine |
|
|
|
|
Polymers, Paranoia, and the Rhetorics of Hypertext |
Stuart Moulthrop |
1991 |
|
|
Porter Olsen |
|
|
|
|
Portuguese E-Lit Archive |
Rui Torres |
2011 |
poesia experimental, archive, experimental literature |
|
Postcard |
Simon Biggs |
1998 |
generative |
|
Postliterary America: From Bagel Shop Jazz to Micropoetries |
Maria Damon |
2011 |
cyberpoetics, poetry, poetics, postliteray culture, media ecology, e-poetry, cyberpoetry, liteary history, literary criticism, American studies, communities, creative community |
|
Postmodern American Fiction: A Norton Anthology |
|
1998 |
|
|
Postmodern Culture |
|
|
|
|
Potagannissing Press |
|
|
|
|
Poubelle |
Guiliano Tosin, Fabio Oliveira Nunes |
2007 |
politics, audio, Flash, George W. Bush, Hugo Chavez, kinetic typography |
|
Practical Play: Research and Invention |
Talan Memmott |
2008 |
play, lab, practice-based research |
|
Prepare |
Jaak Tomberg, Lemmit Kaplinski |
1999 |
hypertext |
|
Present, tense, ordinary, fiction comma dot calm |
Michael Joyce |
1999 |
fiction |
|
Presenting plans for ELO2015 |
Roderick Coover |
2012 |
|
|
Presses Universitaires de Perpignan |
|
|
|
|
Pressing the ‘Reveal Code’ Key |
John Cayley |
1996 |
poetic writing, code, software, computer system, algorithmic text generation |
|
Princeton University Press |
|
|
|
|
Principles of Spatialization in Text and Hypertext |
Karin Wenz |
1997 |
hypertext, spatialization, space, narrative space, discursive space |
|
Print Pathways and Electronic Labyrinths: How Hypertext Narratives Affect the Act of Reading |
J. Yellowlees Douglas |
1991 |
hypertext, reading |
|
Process-Intensive Literature |
Susan Schreibman, Robert Kendall, Talan Memmott, Nick Montfort, Stephanie Strickland, Noah Wardrip-Fruin |
2007 |
process-intensive, process, writing process, collaboration, expressive processing |
|
Profile Books |
|
|
|
|
Programmed digital poetry: a poetry of the apparatus; media art? |
Philippe Bootz |
2011 |
digital poetry, programmability |
|
Promise |
Michael J. Maguire |
2008 |
place, Ireland, myth, personal narrative |
|
Prosthesis |
Ian Hatcher |
2011 |
performance, embodiment, cognition |
|
Prosthesis, or The Forthcoming Public Cloud IaaS Magic Quadrant Tenancy |
Ian Hatcher |
2012 |
public space, cloud, private space |
|
Psychographic Poetry |
Chris Funkhouser |
2009 |
poetry, performance, aleatory, remix |
|
Puppet Motel |
Laurie Anderson |
1995 |
music, performance art |
|
Purpling |
Nick Montfort |
2008 |
constraint, hypertext, procedural, poetry |
|
Quando Assim Termina o Nunca 1 – Visuais |
Wilton Azevedo |
2004 |
video poetry, Brazilian electronic poetry |
|
Queerskins |
Illya Szilak |
2012 |
novel, gay, AIDS, distributed narrative, multimedia |
|
Quintadicopertina |
|
|
|
|
R.W. Bailey |
|
|
|
|
RA-DIO |
Lorenzo Miglioli |
1993 |
|
|
Rachel Burman |
|
|
|
|
Rachel Stevens |
|
|
|
|
Radiant Copenhagen |
Anders Bojen, Kristoffer Ørum |
2009 |
map, collaborative, future, science fiction, speculative, narrative, spatial, geography |
|
Radosław Nowakowski |
|
|
|
|
Rafael Lozano-Hemmer |
|
|
|
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Raffaele Pinto |
|
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Ragnhild Tronstad |
|
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Ragnild Lome |
|
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Raschin Fatemi |
|
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Rasmus Blok |
|
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|
|
Raw Dog Screaming Press |
|
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|
|
Ray Kurzweil’s Cybernetic Poet |
Ray Kurtzweil |
2000 |
poetry generator |
|
Raymond Queneau |
|
|
|
|
RC_AI & Purloined Packets |
Judd Morrissey |
2012 |
|
|
Ré veille d’artiste |
Philippe Bootz |
2007 |
|
|
Re:Cycle - A Computationally Generative Ambient Video System |
Jim Bizzocchi |
2012 |
video art, metadata, generative narrative |
|
Reach, a Fiction |
Michael Joyce |
2001 |
narrative, hypertext fiction |
|
Reading (de)coherent hypertexts: a creative performance based on a close reading of the German hyperfiction Zeit für die Bombe |
Alexandra Saemmer |
2012 |
hypertext, hyperfiction, performance, reading |
|
Reading Augmented Spaces and the Dimensions that Define Them |
Jacob Garbe, John T Murray |
2012 |
augmented reality |
|
Reading by Michelle Teran: Work-in-Progress Guest Lecture |
|
|
social media, narrative, urban, performance, site specific, media archive, Berlin |
|
Reading by Talan Memmott (Electronic Literature Research Group, UiB) |
|
|
|
|
Reading the Discursive Spaces of Text Rain, Transmodally |
Francisco J. Ricardo |
2009 |
|
|
Reading-View(s)ing the Über-box: a critical view on a popular prediction |
Anders Fagerjord |
2000 |
|
|
Readme |
|
|
|
|
Reagan Library |
Stuart Moulthrop |
1999 |
narrative, hypertext, fiction, memory, hypertext fiction, satire, political, combinatorial, QuickTime |
|
Reasoned Metagoria |
Talan Memmott |
1999 |
|
|
Rebecca Young |
|
|
|
|
Reconsidering the Electronic Literary Artifact: E-Books, Twitterature, and Digitalized Richard Brautigan |
Dene Grigar |
2010 |
literary artifact, e-books, twitter |
|
Recuil |
Patrick Henri Burgaud |
2007 |
poetry, HTML |
|
recycled |
Giselle Beiguelman |
2001 |
kinetic typography |
|
Reflections on the iconicity of digital texts |
Alexandra Saemmer |
2011 |
digital textuality, iconicity, iconic irradiation, semiotics, gesture |
|
regen |
Guido van der Wolk |
2007 |
kinetic typography, marquée, poetry |
|
Remediating Literature |
|
|
|
|
Remediation as Passage. The example of the French poem Nouvelles Impressions d’Afrique by Raymond Roussel |
Inés Laitano |
2011 |
|
|
Remembering Bogle Chandler |
Rebecca Young |
2008 |
murder, mystery |
|
Renata Morresi |
|
|
|
|
Rendezvous: A collaboration between art, research and communities |
Cécile Chevalier |
2012 |
|
|
René Bauer |
|
|
|
|
René Lapierre |
|
|
|
|
Renée Bourassa |
|
|
|
|
Rev. of Beyond the Screen. Transformations of Literary Structures, Interfaces and Genres |
Jan Baetens |
2010 |
electronic literature, interface, literary theory |
|
Revelations of Secret Surveillance |
Judy Malloy |
2004 |
control, epic, hypertext, surveillance |
|
Revenances |
Grégory Chatonsky |
2000 |
|
|
Reversed Remediation. A Critical Display of the Workings of Media in Art |
Saskia Korsten |
2011 |
remediation, art, trompe-l'oleil, media critique |
|
Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser |
Chris Funkhouser |
2012 |
review, meaning, interpretation, close reading, telematic embrace, digital poetics, literary criticism, semantics, literary theory |
|
Revolution and Literal Poetics: Writing to be Found and the Natural Language Liberation Fron |
John Cayley |
2011 |
|
|
RFID: Human Agency and Meaning in Information-Intensive Environments |
N. Katherine Hayles |
2010 |
distributed cognition, RFID, sensors, Philip K. Dick |
|
Rheinisch-Westfaelische Technische Hochschule Aachen |
|
|
|
|
Rhetorics of Media Coupling in the Digital Age |
Alexandra Saemmer |
2011 |
rhetoric, media coupling, iconicity |
|
Rhizome Artbase |
|
|
|
|
Richard Ashrowan |
|
|
|
|
Richard Holeton |
|
|
|
|
Riding the Meridian |
Jennifer Ley |
2006 |
|
|
Riding the Meridian |
|
|
|
|
Rob Bevan |
|
|
|
|
Rob Swigart |
|
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|
|
Robert Ford |
|
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|
|
Rod Moore |
|
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|
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Rod Willmot |
|
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|
Romance Notes |
|
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|
|
Rowohlt |
|
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|
|
Roy Ascott |
|
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|
|
Rudy Lemcke |
|
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|
|
Ryan Cordell |
|
|
|
|
Rytm jako kategoria opisu e-literatury |
Emilia Branny-Jankowska |
2011 |
|
|
Sabrina Small |
|
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|
|
Sadie Plant |
|
|
|
|
Sally Rodgers |
|
|
|
|
Sam Lavigne |
|
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|
|
Samplers: Nine Vicious Little Hypertexts |
Deena Larsen |
1998 |
hypertext, Storyspace, hypertext fiction |
|
Samsung |
Young-Hae Chang Heavy Industries, Young-Hae Chang, Marc Voge |
2000 |
experimental cinema, Flash |
|
Samuel Szoniecky |
|
|
|
|
Sans Titre |
Anonymes |
2005 |
|
|
Sarah Lloyd-Winder |
|
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|
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Sarah Waterson |
|
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Sarah Jane Sloane |
|
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Sari Taimela |
|
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|
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Saskia Korsten |
|
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|
|
Sauti ya wakulima: "The Voice of the Farmers": The creation of a community memory through appropriated media |
Eugenio Tisselli |
2012 |
agriculture, activism, collaboration, climate change, collective narrative, environment, knowledge sharing, Tanzania |
|
Say it With a Film-Poem. On Katarzyna Giełżyńska’s C()n Du It |
Mariusz Pisarski |
2012 |
|
|
Sc4nda1 in New Media |
Stuart Moulthrop |
2012 |
|
|
Scott Hermanson |
|
|
|
|
Scott Itchikawa |
|
|
|
|
Screen Writing: A Practice-based, EuroRelative Introduction to Digital Literature and Poetics |
John Cayley |
2009 |
|
|
Screening a Digital Visual Poetics |
Brian Lennon |
2000 |
digital poetics, materiality, literary history |
|
Screening the Page/Paging the Screen: Digital Poetics and the Differential Text |
Marjorie Perloff |
2006 |
digital poetics, poetry, poetics, digital poetry, interpretation, hermeneutics, literary criticism, e-poetry |
|
Scripting Writing and Reading in Jim Andrews's Digital Poems |
Manuel Portela |
2010 |
visuality, semiotics, animation, intertextuality, digital toys |
|
Sébastien Genevo |
|
|
|
|
Secret Door |
Martin Rieser |
2006 |
installation, video, site specific |
|
Seeing Story and Mapping Narrative |
Carolyn Guertin |
2011 |
|
|
Semiotic Cross Analyses of Digital Poetry |
Philippe Bootz, Alexandra Saemmer |
2012 |
|
|
Semiotic Poetry |
Alexandre Gherban |
2002 |
semiotics, poetry |
|
Sepand Ansair |
|
|
|
|
Sestinas |
Dan Waber |
2010 |
generative, sestina, combinatory, perl poetry |
|
Shadows Never Sleep |
Aya Natalia Karpinska |
2008 |
visual poetry, iphone, non-linear, monochrome, iOS |
|
Shakespeare in Simlish? Responsive Systems and Literary Language |
Noah Wardrip-Fruin |
2012 |
interactive fiction, language |
|
Shandra Lamaute |
|
|
|
|
Shastri Akella |
|
|
|
|
Shawn Rider |
|
|
|
|
Signal to Noise |
Ian Hatcher |
2007 |
hypertext, interactivity, collective navigation |
|
Sigurd Tenningen |
|
|
|
|
Silvio Gaggi |
|
|
|
|
Simen Hagerup |
|
|
|
|
Simon Penny |
|
|
|
|
Sinferidad |
Benjamín Escalonilla Godayol |
2009 |
|
|
Sintext |
Pedro Barbosa , Abílio Cavalheiro |
1994 |
|
|
Siofra McSherry |
|
|
|
|
Skogen |
Aina Villanger |
2012 |
forest, poetry, time-based, kinetic, animation |
|
Skriv rätt |
Karl-Erik Tallmo |
1992 |
dictionary, hypercard |
|
Slice |
Toby Litt |
|
blog, narrative, twitter |
|
Small Machines Making Words |
Nick Montfort |
2009 |
text generation, algorithmic text generation |
|
So Random |
Shawn Rider |
2005 |
fiction, tags, temporal, first-person |
|
Social Dis-ease |
Christine Wilks |
2004 |
discomfort, social relations, Flash, poetry, time-based, kinetic typography |
|
Socratic Enquiries |
María Mencía |
1999 |
|
|
Soft Cinema: Navigating the Database |
Lev Manovich, Andreas Kratky |
2005 |
narrative, ambient narrative, cinema, database |
|
Something That Happened Only Once |
Roderick Coover |
2007 |
panorama, film, installation, searching, consciousness, mobius strip |
|
Sophie Calle |
|
|
|
|
Sound Rites: Relationships Between Words and Sound in New Media Writing |
Hazel Smith |
2012 |
sound, multimedia |
|
spätwinterhitze |
Frank Klötgen |
2004 |
hypertext, sound environment, non-linear, fiction, crime, CD-ROM, interactive |
|
Special America |
Claire Donato, Jeff T. Johnson |
2011 |
American exceptionalism, institutional critique, performance, new aesthetic, memes, radical appropriation, song and dance |
|
SpecLab: Digital Aesthetics and Projects in Specuative Computing |
Johanna Drucker |
2009 |
|
|
speculat1on.net |
N. Katherine Hayles, Patrick LeMieux, Patrick Jagoda |
2012 |
alternate reality game, recession, capitalism, transmedia |
|
Sphiros |
James B. Pollack |
2009 |
Flash, animation, layers, zooming interface, sound, image, headtracking |
|
Sprache und Literatur |
|
|
|
|
Srečo Dragan |
|
|
|
|
St. Norbert College |
|
|
|
|
Stacey Mason |
|
|
|
|
Stagno |
Alexandra Saemmer |
2011 |
animation, interactive, re-enchantment |
|
Stalking the paratext: speculations on hypertext links as a second order text |
Francisco J. Ricardo |
1998 |
paratext, links, non-linear |
|
START HERE> An Interdisciplinary Introduction to Electronic Literature |
Scott Rettberg, Rob Wittig, Joseph Tabbi, Andrew Stern, NIki Nolin, Michelle Citron, Kurt Heintz |
2002 |
exhibition, selection, interdisciplary |
|
Stefano Taccone |
|
|
|
|
Stefano Calzati |
|
|
|
|
Steffi Domike |
|
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|
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Stein Magne Bjørklund |
|
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|
|
Stéphanie Spenlé |
|
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|
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Stephen Dougherty |
|
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|
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Stephen Granade |
|
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|
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Stevan Zivadinovic |
|
|
|
|
Steve Duffy |
|
|
|
|
Steve McCaffery |
|
|
|
|
Stream |
Simon Biggs |
2003 |
installation, interactive, 3D, movement, streams, mapping, remote presence |
|
Streamflow Conditions: Charting a Poetics of Language, Code & Networks ~ + TIMESTAMP => 24 Hours of Networked Writing |
|
|
|
|
Strickland and Lawson Jarmillo's slippingglimpse: Distributed Cognition at/in Work |
N. Katherine Hayles |
2009 |
|
|
string-code |
María Mencía |
2011 |
code poetics, Processing, voice activated |
|
Stringing Disturbances in Poetic Array Spaces: Reading by Close Reading |
Loss Pequeño Glazier |
2012 |
|
|
Subject to Change: The Monstrosity of Media in Shelley Jackson's Patchwork Girl; or, A Modern Monster and Other Post-humanist Critiques of the Instrumental |
Laura Shackelford |
2006 |
monstrosity, media studies, feminism, posthuman, systems theory |
|
Subversive Writing and the Digital Text |
Davin Heckman |
2011 |
subversion, tactical media, politics |
|
Sueyeun Juliette Lee |
|
|
|
|
Sunshine '69 |
Robert Arellano |
1996 |
hypertext, fiction, novel, 1960s, acid, travel, historical |
|
Supplement |
Monika Górska Olesińska |
2012 |
|
|
SurREAL: Dramatis Personae on the Digital Stage |
Lisbeth Klastrup, Susana Pajares Tosca, Elin Sjursen, Jill Walker Rettberg |
2000 |
games, characters, readers, virtual world |
|
Susanne Berkenheger |
|
|
|
|
Sven Birkerts |
|
|
|
|
Tale Næss |
|
|
|
|
Tale-Spin |
James Richard Meehan |
1976 |
story generator, generation, narrative, expressive processing |
|
Tamara Lai |
|
|
|
|
Tanja Ørum |
|
|
|
|
Tape mark |
Nanni Balestrini |
1961 |
generated poetry |
|
Tatiani G. Rapatzikou |
|
|
|
|
Teaching Digital Literature through Multi-Layered Analysis |
Raine Koskimaa |
2010 |
teaching, electronic literature, digital literature |
|
Techniques avancées pour l'hypertexte |
|
1996 |
linguistic, hypertext grammar |
|
Technologies That Describe: Data Visualization and Contemporary Fiction |
Heather Houser |
2012 |
visualization, data visualization, contemporary fiction, prose, narrative, literary studies, interpretation, design, visual culture |
|
tegendraads |
Guido van der Wolk |
2007 |
kinetic typography, marquée, poetry |
|
Tehtaan kuolema |
Anni Kämäräinen |
1999 |
documentary, non-fiction, hypertextual, multimodal, report, factories, sound art |
|
Tele_bits 2.0: Metacinema, Redes Abertas e RA |
Giselle Beiguelman |
2011 |
Brazilian net.art, net.art, telecommunications, QR code, teleintervention, giselle beiguelman |
|
Teo Spiller |
|
|
|
|
Teri Hoskins |
|
|
|
|
Terms of Use |
John Cayley |
2012 |
live performance, information structures |
|
Texas Women's University |
|
|
|
|
TEXT |
JODI |
|
interface, typography, subversion, text, hacking |
|
TEXT |
|
|
|
|
Text as Virtual Reality (Techno-Aesthetics and Web-Literatures) |
Janez Strehovec |
1998 |
|
|
Textmaschinen- Kinetische Poesie- Interaktive Installation: Studien zu einer Hermeneutik digitaler Kunst |
Roberto Simanowski |
2011 |
hermeneutics, digital hermeneutics, kinetic poetry, installation, interaction, interactivity |
|
Texto Digital 8.1. (2012) |
|
2012 |
|
|
tExtra.Tour (tExtra.Touren) |
Oliver Gassner |
2003 |
hypertext, sound, online performance space, art, email art, lectures |
|
Thank you... |
Chris Funkhouser, Amy Hufnagel |
2010 |
|
|
The 8 Rules of Fight Club - Kinetic Typography |
|
2008 |
kinetic typography |
|
The Accidental Artist |
Alan Sondheim |
2009 |
virtual world, performance, exhibition |
|
The Aesthetic of Dissonance within 6amhoover.com |
Donna Leishman |
2008 |
disorder, dissonance |
|
The Aesthetics of Net Literature: Writing, Reading and Playing in Programmable Media |
|
2007 |
|
|
The Archive as Historical Practice |
Loss Pequeño Glazier |
2010 |
archive, Robert Coover |
|
The Attributes of Heartbreak (or Gilgamesh, Twelve Leagues He Travelled) |
Carolyn Guertin |
2001 |
|
|
The Barrier Frames / Diffractions Through |
Jim Rosenberg |
1998 |
layers, clustering, hypertext poetry, language poetry |
|
The Basho's Expansion |
Paul-Eerik Rummo |
2000 |
|
|
The Body in Electronic Literature |
Jonathan Jones |
2008 |
|
|
The Book After the Book |
Giselle Beiguelman |
2001 |
animation, hypertext, essay, text as image |
|
The Book, the Cinema, and the Vestigial Structures of Electronic Literature |
David Clark |
2012 |
|
|
The Breathing Wall |
Kate Pullinger, Stefan Schemat, Chris Joseph |
2004 |
cybersomatic, physio-cybertext, body-machine, gothic, murder-mystery |
|
The Bride Stripped Bare: Nude Media and the Dematerialization of Tony Curtis |
Kenneth Goldsmith |
2009 |
|
|
The Cambridge Companion to American Fiction After 1945 |
|
2012 |
|
|
The Code is not the Text (unless it is the Text) |
John Cayley |
2002 |
code, codework |
|
The Contingencies of the Hypertext Link |
Terry Harpold |
1991 |
hypertext, link, contingency |
|
The Cortland Review |
|
|
|
|
The Digital Manual |
Smita Kheria |
2012 |
collaboration, case studies, digital manual, knowledge sharing |
|
The Digital Subject: Questioning Hypermnesia |
|
|
memory, digital archives, subjectivity, databases, subject, hypermnesia |
|
The Electronic Chronicles |
Adrianne Wortzel |
1994 |
hypertext, compendium, archives, civilization, fiction |
|
The Electronic Literature Directory |
Joseph Tabbi, Davin Heckman |
2011 |
database, archive, ELO, ELD, digital humanities |
|
The End of E-Lit |
Steve Tomasula |
2012 |
|
|
The End of Time: On Kawara and Kawara Machines |
Stephanie Boluk |
2011 |
|
|
The Endless Reading of Fiction: Stuart Moulthrop's Hypertext Novel Victory Garden |
Robert L. Selig |
2000 |
hypertext, narrativity, closure |
|
The Extensions of the Body in New Media Art |
Maja Murnik |
2011 |
body, new media art, embodiment |
|
The Fiction and Non-Fiction of Virtual Reality |
|
|
|
|
The Four Corners of the E-lit world. Textual Instruments, Operational Logics, Wetware Studies and Cybertext Poetics |
Markku Eskelinen |
2011 |
electronic literature, textual instruments, wetware, cybertext poetics, poetics, digital poetics |
|
The Free Press |
|
|
|
|
The Function of Digital Poetry at the Present Time |
Nathan Brown |
2008 |
|
|
The Gaming Stituation |
Markku Eskelinen |
2010 |
|
|
The Glass Snail: a Pre-Christmas Tale |
Milorad Pavić |
2003 |
narrative, fiction, multilinear, christmas |
|
The Guardian |
|
|
|
|
The Gutenberg Elegies |
Sven Birkerts |
1995 |
|
|
The Help File |
Nick Montfort |
1999 |
help, conceptual art, parody, hypertext |
|
The Hugo Ball |
Talan Memmott |
2006 |
Flash, sound poetry, dada, Hugo Ball, nonsense |
|
The IBM Poem |
Emmett Williams |
1966 |
computer poetry, alphabet, constraints, permutation |
|
The Inframergence |
Jim Rosenberg |
2009 |
animated text, screen stage, live performance |
|
The Institution of the Book: Why Shelley Jackson Doesn't Write Hypertext |
John Cayley |
2011 |
hypertext, book, history of the book, writing, authorship |
|
The Interactive Fiction Archive |
|
|
|
|
The Literary in Network-Based Writing and Reading Practices |
Jörgen Schäfer |
2011 |
|
|
The Madeleine Effect |
Melissa Berman |
2008 |
visual narrative |
|
The melancholic hypertext : the fate of the writer in the tangential narrative |
Andreas Kitzmann |
1995 |
hypertext, hypertext fiction |
|
The Metanovel: Writing Stories by Computer |
James Richard Meehan |
1976 |
computer programming, computational linguistics, computer logic, semantics, problem solving, artificial intelligence, subroutines, natural language, information processing |
|
The MIT Press |
|
|
|
|
The Nordic Association for Comparative Literature (NorLit) |
|
|
|
|
The Nowhere Dance |
Alan Sondheim |
2009 |
performance, virtual world |
|
The Oulipo: Constraints and Collaboration |
William Gillespie |
2000 |
collaboration, Oulipo, constraints, writing games |
|
The Pasts and Futures of Netprov |
Rob Wittig |
2012 |
netprov, participatory, collaboration, satire, writing performance |
|
The Poetics of Translating E-Literature |
Yves Abrioux |
2011 |
translation |
|
The Poetry Cube |
Jason Nelson |
2007 |
poetry, cube, system, participation, 3D, Flash |
|
The Possible Worlds of Hypertext Fiction |
Alice Bell |
2010 |
hypertext fiction, hypertext criticism, hypertext theory |
|
The Postmodern Condition: A Report on Knowledge |
Jean-François Lyotard |
1984 |
postmodernism, epistemology, postmodernity, modernity, performativity, technology, legitimation, language games, paralogy, narrative, metanarrative |
|
The Present of the Word: Poetry's Coming Digital Presence (on the occasion of the 20th anniversary of the Poetics Program) |
Charles Bernstein |
2011 |
digital poetry, audio, PennSound |
|
The Presumed Literariness of Digital |
Kent Aardse |
2012 |
media critique, digital media, exploratory |
|
The Princess Murderer |
Geniwate, Deena Larsen |
2003 |
narrative, hyperfiction, fiction, presence, subversion, gender, death, murder |
|
The Prisoner |
Martin Rieser |
2011 |
spatialized figure, voice control, avatar |
|
The Quaker Oat Box – Infinite Regress |
Marjorie C. Luesebrink |
2012 |
|
|
The Rainbow Factory |
Peter Howard |
2000 |
Flash, rainbow, labor, comedy, fiction, hypertext |
|
The Raw Shark Texts |
Steven Hall |
2007 |
narrative, fiction, memory, experimental fiction, print fiction, amnesia, innovative fiction |
|
The Routledge Companion to Experimental Literature |
|
2012 |
experimental literature, experimental, literature, literary history, modernism, postmodernism, avant-garde, digital textuality |
|
The Save Button Ruined Everything |
Jason Scott |
2012 |
archiving, computer history, memory, culture, publishing, nostalgia |
|
The Shape of the Signifier: 1967 to the End of History |
Walter Benn Michaels |
2004 |
|
|
The Significance of Navigation and Interactivity Design for Readers’ Responses to Interactive Narrative |
James Pope |
2009 |
reader response, design, navigation, interactivity design, interactive narrative, interface |
|
The sport of détournement, the détournement of sport, basic skills for media remixes |
Rob Wittig |
2009 |
performance, sports, rhetoric, remix, baseball, soundboard |
|
The Surface Materiality: Performing Generative Writing |
María Mencía |
2011 |
|
|
The Textual Whole and its Vicissitudes in Digital and Ergodic Literature |
Markku Eskelinen |
2011 |
textuality |
|
The Tradition of E-Lit Publishing in France |
Philippe Bootz |
2011 |
france, electronic literature, literary history, e-lit |
|
The Tulse Luper Journey |
Peter Greenaway |
2006 |
cross media narrative, online game |
|
The Tulse Luper Suitcases |
Peter Greenaway |
2000 |
remix, archive, cross media narrative |
|
The Virtual and The Virtuous |
Luigi Caramiello, Salvatore Monaco |
2011 |
|
|
The Wave |
Heather Raikes |
2007 |
performance, hypertext, illuminated manuscript, myth, embodiment, video, sound, dance, Flash |
|
The Weather Station Never Lies |
Tambett Tamm |
1999 |
|
|
The World Must Be Described: Katarzyna Giełżyńska interviewed by Piotr Marecki |
Katarzyna Giełżyńska, Piotr Marecki |
2012 |
|
|
Theodoros Chiotis |
|
|
|
|
Theory and History of Literature |
|
|
|
|
There, There Square |
Jacqueline Goss |
2008 |
map, narrative, locative, cartography, Flash |
|
Third Hand Plays: An Introduction to Electronic Literature |
Brian Kim Stefans |
2011 |
|
|
Thirteen Ways of Looking at a Blackbird |
Edward Picot |
2007 |
poetry, remediation, interpretation, image and text, audio |
|
This is Not a Hypertext |
Simon Biggs |
2003 |
|
|
Thomas Swiss |
|
|
|
|
Thomas Brevik |
|
|
|
|
Thomas Thurah |
|
|
|
|
Thomas H. Crofts |
|
|
|
|
Tibor Papp performance |
Tibor Papp |
2007 |
sound poetry, voices, machine voice, reading |
|
Tilfældighedspoesi og et programmeret nu |
Mette-Marie Zacher Sørensen |
2009 |
|
|
Tim Catinat |
|
|
|
|
Tim Wright |
|
|
|
|
Time Code Language: New Media Poetics and Programmed Signification |
John Cayley |
2006 |
poetics, programmable media |
|
Time For No One, Hypermedia Duration |
Stuart Moulthrop, Nancy Kaplan, Adrian Miles, Markku Eskelinen, Raine Koskimaa |
2000 |
|
|
Time Qullts (a loop study) |
Will Luers |
2008 |
video, remix, media art, moie history, nested loops |
|
Timothy Terhaar |
|
|
|
|
Toby Litt |
|
|
|
|
Tom Grothus |
|
|
|
|
Tom Konyves |
|
|
|
|
Tommaso Tozzi |
|
|
|
|
Tony Barnstone |
|
|
|
|
Topdown Digital Literature: The Effects of Institutional Collaborations and Communities |
Yra van Dijk |
2012 |
|
|
Tor Åge Bringsværd |
|
|
|
|
Touch and Gesture as Aesthetic Experience: Performing 5 Apps |
Maria Engberg |
2012 |
touch, haptic, gesture, experience, app |
|
Touch: The Art of the Mobile App, featuring works by Jason Edward Lewis |
Dene Grigar |
2012 |
|
|
Touchwords |
Peter Kay |
2011 |
gesture, poetry, generative, ipad, iOS |
|
Toward a Poetics for Circulars |
Brian Kim Stefans |
2006 |
|
|
trAce Archive |
|
|
|
|
trAce Conferences |
|
|
|
|
Tradition i opbrud |
|
2005 |
avante-garde, movement |
|
Transient Self-Portrait |
María Mencía |
2012 |
code, generative writing, textual surface, materiality, interactivity, ASCII, interdisciplinary, ephemeral-(ity), transient, time, evanescent, not permanent, fluid, interactive aesthetics, notions of the digital self, portraiture. |
|
Translating Codes-Performing Bilingualism |
Jerome Fletcher |
2012 |
|
|
Transliteracy and Interdisciplinarity in Digital Media Research |
Sue Thomas |
2008 |
transliteracy, interdisciplinarity |
|
Tree Woman |
Deena Larsen |
2003 |
|
|
Trepp |
Hasso Krull |
1996 |
|
|
Triple Canopy |
|
|
|
|
True North |
Stephanie Strickland |
1997 |
poetry, hypertext, history, time, geography, mathematics |
|
Tu/tto |
Daniela Calisi |
|
|
|
Tue-moi |
Eric Sérandour |
1998 |
email |
|
Tumulte, 227 histoires brèves |
François Bon |
2008 |
|
|
Turning In |
Wes Chapman |
1997 |
hypertext, fiction |
|
Twilight, A Symphony |
Michael Joyce |
1996 |
hypertext, fiction, Storyspace |
|
Twisty Little Passages: An Approach to Interactive Fiction |
Nick Montfort |
2003 |
interactive fiction, riddles |
|
Typeoms |
David Jhave Johnston |
2011 |
typos, spam, definitions, generative |
|
Typing the Dancing Signifier: Jim Andrews' (Vis)Poetics |
Leonardo Flores |
2010 |
digital poetry, visual, code studies |
|
Ubermatic |
Michelle Teran |
2009 |
collaboration, artist talk, surveillance, social networking, locative |
|
UbuWeb |
|
|
|
|
uConnect |
Mark Cooley |
2004 |
media art, installation, commodification, materiality, labor, ready-made |
|
Ugly |
Peter Howard |
2002 |
audio, Flash, combinatory |
|
Umeå University |
|
|
|
|
Un conte à votre façon |
Raymond Queneau |
1999 |
hypertext, interactive, non-linear, abstract, algorithm, combinatorial techniques |
|
Una Selva Oscura |
Victoria Welby |
2008 |
vispo, participatory, illustration, animation, audio, page, voice, adaptation |
|
Uncle Roy All Around You |
Blast Theory |
2003 |
game, locative narrative |
|
Under Language |
Stuart Moulthrop |
2007 |
|
|
Understanding Echo |
Martin Rieser |
2002 |
video, projection, installation |
|
Understanding the Act of Reading: the WOE Beginners' Guide to Dissection |
J. Yellowlees Douglas |
1991 |
close reading, reading hypertext |
|
Unique-Reading Poems: A Multimedia Generator |
Philippe Bootz |
1996 |
|
|
universi |
|
|
|
|
Università Di Macerata |
|
|
|
|
University of Alberta Press |
|
|
|
|
University of Bedfordshire |
|
|
|
|
University of Bergen |
|
|
|
|
University of Calgary |
|
|
|
|
University of California, Los Angeles |
|
|
|
|
University of California, Riverside |
|
|
|
|
University of California, San Diego (UCSD) |
|
|
|
|
University of California, Santa Barbara |
|
|
|
|
University of Canterbury |
|
|
|
|
University of Helsinki |
|
|
|
|
University of Illinois at Chicago, Dept. of Communications |
|
|
|
|
University of Innsbruck |
|
|
|
|
University of Iowa Press |
|
|
|
|
University of Maryland |
|
|
|
|
University of Notre Dame Press |
|
|
|
|
University of Pennsylvania |
|
|
|
|
University of Pennsylvania Press |
|
|
|
|
University of Stavanger |
|
|
|
|
University of Utrecht |
|
|
|
|
University of Zurich |
|
|
|
|
update verlag |
|
|
|
|
Upstage |
Helen Varley Jamieson |
2012 |
collaboration, performance, networked community |
|
Ursula Andkjær Olsen |
|
|
|
|
Urszula Pawlicka |
|
|
|
|
US Library E-Lit Archive Projects |
John M. Vincler |
2011 |
preservation, archive, library, digital library |
|
Using HCI Techniques To Make Digital Art More Ergodic |
Julianne Chatelain |
2000 |
|
|
Van Leavenworth |
|
|
|
|
Vandenhoeck & Ruprecht |
|
|
|
|
Vannevar Bush |
|
|
|
|
Variability and Intermediality as Challenges to Preservation Issues: Reflections about the Design and Implementation of Digital Archives |
Rui Torres |
2011 |
archive, preservation, intermediality |
|
Vectors, Scalar, and Magic: Emerging Platforms for E-lit Scholarship |
Erik Loyer, Mark C. Marino, Craig Dietrich |
2012 |
scholarship, development, interface, multimodal works, vectors |
|
Vers de nouvelles formes en poésie numérique programmée? |
Philippe Bootz |
2006 |
genre, form, semiotics |
|
Verteiltes literarisches Handeln: Vorüberlegungen zu einer Theorie der Literatur in computerbasierten Medien |
Jörgen Schäfer |
2010 |
|
|
Victoria Welby |
|
|
|
|
Video Ergo Sum: Video as Symbolic Form |
Paolo Granata |
2011 |
|
|
Video Games and Configurative Performances |
Ragnhild Tronstad, Markku Eskelinen |
2003 |
|
|
Vienna Underground: The Third Woman Project |
Martin Rieser |
2008 |
sensors, sound art, installed text, performance, bioterrorism, game, locative, video installation |
|
Vika Zafrin |
|
|
|
|
Villadom |
Nick Montfort |
2001 |
|
|
Vingt ans après |
Sophie Calle |
2001 |
|
|
Viva Vaia |
Augusto de Campos |
1979 |
|
|
Viva Zombatista |
Simen Hagerup |
2010 |
animation, zombies, animated text, time-based |
|
Vlado Martek |
|
|
|
|
Vniverse |
Stephanie Strickland, Cynthia Lawson Jaramillo |
2006 |
digital poetics, poetry |
|
Voice Mosaic |
Martha Carrer Cruz Gabriel |
2004 |
media art, voice, speech, participatory, interface |
|
Voice Time |
Jörg Piringer |
2012 |
|
|
W. J. T. Mitchell |
|
|
|
|
Wade Roberts |
|
|
|
|
Walter Benn Michaels |
|
|
|
|
War Games |
Jennifer Ley |
2001 |
activism, war, land mines |
|
Washington State University Vancouver, Creative Media and Digital Culture Program |
|
|
|
|
Wasting Time |
Judy Malloy |
1992 |
database narrative |
|
Waxweb |
David Blair |
1993 |
film, interactive video, hypertext, bees, tragedy, narrative, time |
|
We Descend : Archives Pertaining to Edgerus Scriptor, Volume 1 |
Bill Bly |
1997 |
history, hypertext fiction, interpretation, myth |
|
We Descend, Volume Two |
Bill Bly |
2011 |
|
|
We Drank |
Christine Wilks |
2005 |
drinking, alcohol, social relations, Flash, kinetic typography, audio, time-based |
|
Webartery |
|
|
|
|
Weekendavisen |
|
|
|
|
Well/Brane |
Alan Sondheim |
2010 |
|
|
What is "The Asian Tower"? |
Lorenza Colicigno |
2011 |
Second Life |
|
What Is at Work in a Work of Digital Literature? |
Marjorie C. Luesebrink |
2010 |
Stephanie Strickland, archiving, electronic poetry, e-poetry, electronic literature, John Zuern, Mark Marino |
|
What They Said... (While We Were Sleeping) |
Alan Bigelow |
2008 |
political, Flash, residual media, animated text, video |
|
What’s New Is Old: technology, poetry, orality |
Anmarie Tremble |
2012 |
|
|
Where is electronic literature in Rulinet? |
Natalia Fedorova |
2012 |
|
|
Why digital games and networks can help us to change reality and generate concrete changes in social environments |
Patrícia Gouveia |
2011 |
games, social networks, social relations, technology -- social aspects |
|
Why Some Dolls Are Bad: a generative graphic novel for the iPhone |
Kate Armstrong |
2007 |
generative, novel, graphic novel, identity, dolls, facebook, Flickr, tags, image and text |
|
Why ‘But is it e-lit?’ Is a Ridiculous Question: The Case for Online Journals as Organic, Evolving Works of Digital Literature |
David Thomas Prater |
2012 |
digital literature, electronic literature, taxonomy |
|
WIKIARTPEDIA |
Tommaso Tozzi |
2011 |
wiki |
|
William Gibson |
|
|
|
|
William Gillespie |
|
|
|
|
William Warner |
|
|
|
|
William S. Burroughs |
|
|
|
|
Wilton Azevedo |
|
|
|
|
Wittgensteins brors venstre hånd : David Clark's “88 constellations for Wittgenstein (to be played with the left hand)" |
Mette-Marie Zacher Sørensen |
2011 |
|
|
Word Circuits |
|
|
|
|
Workplace is Mediaspace is Cityscape: Nick Montfort on Book and Volume |
Jeremy Douglass |
2006 |
city, interactive fiction, games, constraint, space |
|
Workshop on Electronic Literature and Archiving |
Scott Rettberg |
2012 |
workshop, ELMCIP, electronic literature, database |
|
Writing as Erasure: Book Art, Memory, and Forgetting in the Digital Age |
Kiene Brillenburg Wurth |
2011 |
|
|
Writing at the Edge |
George P. Landow |
1995 |
|
|
Writing Digital Media Collection |
|
|
|
|
Writing on Complex Surfaces |
John Cayley |
2005 |
writing surface, CAVE, 3D |
|
Writing on the World: Augmented Reading Environments |
Maria Engberg |
2011 |
|
|
Writing the Web with RiTa and Javascript |
Daniel C. Howe |
2012 |
workshop |
|
Writing To Be Found In Common Tongues |
John Cayley, Common Tongues |
2013 |
|
|
Writing with the Code - a Cybertextual Poetics |
Søren Bro Pold |
2000 |
poetics, source code, cybertext |
|
Wszyscy jesteśmy cyborgami |
Urszula Pawlicka |
2012 |
|
|
Xenon |
|
|
|
|
XpoMOO: Ambient Thresholds, Random Art |
Cynthia Haynes, Jan Rune Holmevik |
1999 |
moo, randomness |
|
Xylo |
Peter Howard |
2001 |
animation, poetry |
|
Yale University |
|
|
|
|
York University |
|
|
|
|
Yoshi Sodeoka |
|
|
|
|
Zeit für die Bombe |
Susanne Berkenheger |
1997 |
hyperfiction |
|
Zeros and Ones: Digital Women and the New Cyberculture |
Sadie Plant |
1997 |
cyberculture, cyberfeminism, feminism, history, technology -- social aspects, technoculture |
|
Ziga Turk |
|
|
|
|
Zone : Zero |
Stephanie Strickland |
2008 |
poetry, e-poetry |
|
[JJ.BS]GENERATIVE RE:EDIT/ATOR |
Talan Memmott |
2011 |
combinatory, Samuel Beckett, James Joyce |
|
[the perpetual bed] |
Mary Flanagan |
1998 |
VRML, chat, world, video, narrative, surrealist |
|
¿Pero hay realmente un cambio de paradigma? Un análisis apresurado mientras la literatura pierde los papeles |
Laura Borràs Castanyer |
2008 |
|
|
Łukasz Podgórni |
|
|
|
|
Арт-Тенета - Книга Отзывов на конкурс |
|
|
|
|
Битница: A Translation |
Joe Milutis |
2010 |
video, appropriated texts, translation, performance, homophonic, homolexic, audiovisual, vispo, transmutilation |
|
Интернет и киберкультура в России |
|
|
|
|
Кибература |
|
|
|
|
Русская вирутальная библиотека |
|
|
|
|
“III=II=I=I=II=III” |
John Cayley |
2012 |
language engine, information processing, Google |