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Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext
Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext
Eric Dean Rasmussen - 07.07.2011 - 16:37
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Beyond the Screen (review)
Beyond the Screen (review)
Jörgen Schäfer - 08.07.2011 - 10:46
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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
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
Eric Dean Rasmussen - 08.07.2011 - 10:53
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Dali Clocks: Time Dimensions of Hypermedia
Stephanie Strickland investigates an epistemological shift in web-specific art and literature, from an understanding that is less about structure and more about resonance. (Source: ebr) Artists discussed include: Tom Brigham, Jim Rosenberg, Mary Anne Breeze (mez), Noah Wardrip-Fruin, Lisa Jevbratt, and Edardo Kac.
Eric Dean Rasmussen - 08.07.2011 - 11:43
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Curveship: An Interactive Fiction System for Interactive Narrating
From the publication: Interactive fiction (often called “IF”) is a venerable thread of creative computing that includes Adventure, Zork, and the computer game The Hitchhiker’s Guide to the Galaxy as well as innovative recent work. These programs are usually known as “games,” appropriately, but they can also be rich forms of text-based computer simulation, dialog systems, and examples of computational literary art. Theorists of narrative have long distinguished between the level of underlying content or story (which can usefully be seen as corresponding to the simulated world in interactive fiction) and that of expression or discourse (corresponding to the textual exchange between computer and user). While IF development systems have offered a great deal of power and flexibility to author/programmers by providing a computational model of the fictional world, previous systems have not systematically distinguished between the telling and what is told.
Patricia Tomaszek - 22.07.2011 - 18:44
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Third Hand Plays: An Introduction to Electronic Literature
The first in a series of columns about electronic literature and digital literary art written by Brian Kim Stefans for the SFMOMA's Open Space blog. Here, Stefans explains the premise behind his column: each installment describes what he dubs one of the "simples" of digital literature, that is, "some element in the deep structure of the text/alogrithm interaction" that the author deploys to produce aesthetic effects. In digital literature, Stefans proposes, these formal elements are akin to poetic features, such as assonance, alliteration, and rhyme, that can be identified as a poem's basic components. Critical terminology provides readers and critics a tool for describing how a work of literature functions, and Stefans' "simples" are intended to enable readers to not only identify techniques used to produce digital literary art but also to better understand how authors deploy these poetic effects meaningfully. (Source: Eric Dean Rasmussen)
Patricia Tomaszek - 24.07.2011 - 14:55
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After the Book: Writing Literature/Writing Technology
Originally distributed with (or completely on?) a set of floppy disks, this special issue of the journal Perforations includes creative and critical works by many pioneering authors and scholars of electronic literature.
Jill Walker Rettberg - 27.07.2011 - 22:46
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Hypertext: Permeable skin
Hypertext: Permeable skin
Jill Walker Rettberg - 27.07.2011 - 22:57
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Gaps, Maps and Perception: What Hypertext Readers (Don't) Do
Gaps, Maps and Perception: What Hypertext Readers (Don't) Do
Jill Walker Rettberg - 27.07.2011 - 23:13
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DAC Literary Arts Extravaganza Gallery
An exhibition presented by Jessica Pressman and Mark C. Marino at the Digital Arts and Culture Conference 2009.
Patricia Tomaszek - 11.08.2011 - 16:20
