MLA Convention 2020: Documenting a Graduate Course in Electronic Literature with ScalarMain MenuMLA Convention 2020: Documenting a Graduate Course in Electronic Literature with ScalarAcknowledgmentNazua IdrisIntroductionKathryn ManisDesigner's StatementNazua IdrisChapter 1: Responding to Major Theoretical Works of Electronic LiteratureSection I: "Intimate Mechanics: One Model of Electronic Literature"Kathryn ManisSection II: "Future Fiction Storytelling Machines"Nazua IdrisSection III: "Digital Interventions"Nazua IdrisSection IV: "Teaching Electronic Literature as Digital Humanities: A Proposal"Ricardo RamirezSection V: "Feminism, Print, Machines"Ricardo RamirezSection VI: "On Turbulence"Ricardo RamirezSection VII: "Literary Gaming"Ricardo RamirezSection VIII: "The Machine in the Text, and the Text in the Machine"Landon RoperSection IX: "Literary Texts as Cognitive Assemblages: The Case of Electronic Literature"Landon RoperChapter 2: Critical Engagements with Electronic LiteratureSection I: "The Ballad of Sand and Harry Soot" by Stephanie StricklandKathryn ManisSection II: "Patchwork Girl" by Shelley JacksonKathryn ManisSection III: "Faith" by Robert KendallNazua IdrisSection IV: “Loss of Grasp” by Serge BouchardonNazua IdrisSection V: "Shy boy" by Thom SwissRicardo RamirezSection VI: "RedRidingHood" by Donna LeishmanRicardo RamirezSection VII: "Tipoemas y Anipoemas" by Ana Maria UribeLandon RoperSection VIII: "Dakota" by Young Hae-Chang Heavy IndustriesLandon RoperChapter 3: Pedagogical Possibilities: Electronic Literature in Classroom and BeyondSection I: At the Intersection of Games and E-Lit: Kathryn Manis in conversation with Nicholas BinfordKathryn ManisSection II: Group Traversal on Judd Morrissey's "The Jew's Daughter"Nazua IdrisSection II: Individual Case StudiesJulian Ankney's CaseNicholas Binford's CaseTroy Rowden's CaseRichard Snyder's CaseRosamond Thalken's CaseConclusionsRicardo RamirezAuthors' BiosNazua IdrisLandon Roperd6bafe98ae021bac254d2976714bb17c121d306b
1media/23753065302_26da63dc0e_b.jpgmedia/loss of grasp.jpg2019-04-28T08:43:08-07:00Section IV: “Loss of Grasp” by Serge Bouchardon17Nazua Idrisimage_header2019-05-06T04:12:43-07:00 “Loss of Grasp” by Serge Bouchardon is one of the examples of what Astrid Ensslin names as ludic-literary text – a text that combines the characteristics of literature and video games. The meaning and the theme of "Loss of Grasp" are expressed through the level of interactivity and participation of the audience, rather than actual linguistic or visual content. This literary game is designed based on the eternal existential crisis of human endeavors, that is the loss of individual’s control over their own life and destiny. Within six slides, this literary game engages the readers in a transformative journey, where they participate in the story as the unnamed narrator. The slides lead the audience through a path of self-discovery, that takes them from an illusion of control to an awareness of the reality where they suddenly lose control over their life and destiny. As the audience move from one slide to another, they become part of the narrative, as they can control the movements of words and colors by moving the cursor or pressing the keys. As long as they have the illusion that they can control their destiny, they can move the cursor or press keys to make changes to the interface. But as the narrative progresses and they encounter self-doubt, they gradually lose control over the words and colors.
At the beginning, when the audience have control over their life, they can direct the appearance and motion of the colors. The colors reveal themselves according to the way the audience control the mouse. However, soon the audience lose grasp of controlling that motion and the movement of the colors becomes arbitrary. The colors automatically move and change directions, embodying the gradual loss of control. However, still the audience can click the mouse. In the penultimate slide, when the audience is asked to make a decision in terms of time for a meeting, they are given three options: “Press 1 for a meeting in 10 years,” “Press 2 for a meeting in 3 hours,” and “Press 3 for a meeting now.” However, the final illusion of control is broken in the last slide, because no matter which option the audience chose, they end up being on the same slide. The audience completely lose control in the last slide because the cursor goes away. The beautiful background sound of musical instrument fades into chaotic human voices, emphasizing the break in the linear thinking about life while also reinforcing the fact that the audience is only one of these many unnamed voices. When the audience begin interacting with this e-lit piece and have control over the interface, they think that they are king ("I am the king of the world" appears on screen). But this sudden realization that they are just one in many voices, contributes to the overall emotion of loss of control and uncertainty. This literary game leaves the audience with only one certainty – that is the perpetual uncertainty of human endeavors.