Expressive Processing: On Process-Intensive Literature and Digital Media

Critical Writing
xv, 425
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Abstract (in English): 

Most studies of digital media focus on elements familiar from traditional media. For example, studies of digital literature generally focus on surface text and audience experience. Interaction is considered only from the audience's perspective. This study argues that such approaches fail to interpret the element that defines digital media -- computational processes. An alternative is proposed here, focused on interpreting the internal operations of works. It is hoped that this will become a complement to (rather than replacement for) previous approaches. The examples considered include both processes developed as general practices and those of specific works. A detailed survey of story generation begins with James Meehan's Tale-Spin, interpreted through "possible worlds" theories of fiction (especially as employed by digital media theorists such as Marie-Laure Ryan). Previous interpretations missed important elements of Tale-Spin's fiction that are not visible in its output. Other story generation systems discussed include Minstrel, Universe, Brutus, and Terminal Time.These reveal the inevitably authored nature of simulations of human behavior. Further, the persistently anthropomorphizing approach to computational processes present in traditional artificial intelligence (and many critiques) is contrasted with authorship. Also discussed is Christopher Strachey's love letter generator for the Manchester Mark I -- likely the first work of digital literature, and arguably the first digital art of any kind. As with Tale-Spin, an interpretation of its processes offers more than output-focused approaches. In addition, this study considers works with algorithmic processes carried out by authors and audiences (rather than within the works) created by Raymond Queneau, Tristan Tzara, and Claude Shannon. Prior theoretical concepts are engaged, including Espen Aarseth's "cybertext," Michael Mateas's "expressive AI," and Chris Crawford's "process intensity." A set of concepts and vocabulary are proposed, beginning with the simple distinction between "surface," "data," and "process." Further chapters introduce the terms "implemented processes," "abstract processes," and "works of process." The most unfamiliar new term, "operational logics," names behavioral elements of systems that can be as elemental as gravity or as high-level as a quest structure. The computer game Fableembodies the strengths and weaknesses of using the same logics to drive graphical and linguistic behavior.

(Source: LABS: Leonardon ABstract Service)

Critical writing referenced:

Titlesort descending Author Year
A Box, Darkly: Obfuscation, Weird Languages, and Code Aesthetics Nick Montfort, Michael Mateas 2005
Acid-Free Bits: Recommendations for Long-Lasting Electronic Literature Nick Montfort, Noah Wardrip-Fruin 2004
Artificial Intelligence and Literary Creativity: Inside the Mind of BRUTUS, a Storytelling Machine Selmer Bringsjord, David Ferrucci 2013
Close Reading und der Streit um Begriffe Roberto Simanowski 2005
Computer Lib: You can and must understand computers now / Dream Machines: New freedoms through computer screens—a minority report Theodor Holm Nelson 1974
Computer Power and Human Reason Joseph Weizenbaum 1991
Cybertext: Perspectives on Ergodic Literature Espen Aarseth 1997
Digital Modernism: Making it New in New Media Jessica Pressman 2014
Distributed Narrative: Telling Stories Across Networks Jill Walker Rettberg 2005
Fiction and Interaction: How Clicking a Mouse Can Make You Part of a Fictional World Jill Walker Rettberg 2003
Hamlet on the Holodeck: The Future of Narrative in Cyberspace Janet H. Murray 1998
Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology George P. Landow 1997
Hypertext 3.0: Critical Theory and New Media in an Era of Globalization George P. Landow 2006
Hypertext: The Convergence of Contemporary Critical Theory and Technology George P. Landow 1992
My Mother Was a Computer: Digital Subjects and Literary Texts N. Katherine Hayles 2005
Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media Marie-Laure Ryan 2015
Playable Media and Textual Instruments Noah Wardrip-Fruin 2005
The End of Books Robert Coover 1992
The Language of New Media Lev Manovich 2000
The Metanovel: Writing Stories by Computer James Richard Meehan 1976
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Scott Rettberg