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1. Geo-Spatial Aesthetics: Time, Agency and Space in Electronic Writing

   Geo-Spatial Aesthetics: Time, Agency and Space in Electronic Writing

   Patricia Tomaszek - 19.05.2011 - 16:42

2. Light & Dust: Polyaesthetic Experiences with Locative Augmented Reality

   Light & Dust: Polyaesthetic Experiences with Locative Augmented Reality

   Patricia Tomaszek - 19.05.2011 - 16:50

3. Poetic Ergodic Capture

   This paper comments on a number of videos the presenter has shown at the e-poetry festival 2011. Bootz presents the concepts of noematic and ergodic reading, as well as the idea of "ergodic capture."

   Patricia Tomaszek - 19.05.2011 - 16:57

4. The Heuristics of Automatic Story Generation

   The intelligence of a story-generating computer program can be assessed in terms of creativity, aesthetic awareness, and understanding. The following approaches are evaluated with respect to these three criteria: simple transition networks, grammar-driven models, simulations, algorithms based on problem-solving techniques, and algorithms driven by so-called "authorial goals." The most serious deficiency of the discussed programs resides in the domain of aesthetic awareness. In order to improve on this situation, story-generation should not follow a strictly linear, chronological order, but rather proceed from the middle outwards, starting with the episodes that bear the focus of interest. The program should select as top-evel goal the creation of climactic situations, create the preparatory events through backward logic, and take the story to the next highlight, or to an appropriate conclusion through a guided simulation. This strategy is ilustrated in a "reverse-engineering," or generative reading of Little Red Riding Hood that simulates the reasoning of an imaginary computer program.

   (Source: Author's website)

   Scott Rettberg - 19.05.2011 - 17:03

5. Immersion versus Interactivity: Virtual Reality and Literary Theory

   Virtual Reality has been defined as an "interactive, immersive experience generated by computer " (Pimentel and Texeira).This paper investigates the possibility of the literary implementation of these two dimensions. While immersion plays an important role in theories of fiction based on the concept of possible world and of game of make-believe, it presupposes a transparency of the medium that goes against the grain of postmodern aesthetics. Postmodern literature emulates the interactive aspect of VR in a metaphorical way through self-reflexivity, and in a more literal way through hypertext, but both of these attempts involve the sacrifice of the pleasure derived from immersion. In computer-generated VR, by contrast, immersion and interactivity do not stand in conflict but support each other. The difference in behavior between VR and literature is seen to reside in the participation of the body. While textual worlds are created through a purely mental semiotic activity which presupposes an external point of view, the worlds of VR are created from within through an activity both mental and physical.

   Scott Rettberg - 19.05.2011 - 17:09

6. Interactive Drama: Narrativity in a Highly Interactive Environment

   The most talked-about, and potentially the most significant consequence of recent advances in electronic technology for the practive and theory of literature is the promise of interactivity. The idea of interactivity is traditionally associated with hypertext. But compared to Interactive Drama, a genre existing mainly in the conceptual stage, hypertext involves a relatively low grade of interactivity: the freedom to select an itinerary on a network of author-defined pathways. In Interactive Drama, ideally, "the interactor is choosing what to do, say, and think at all times" (Kelso, Bates and Weyhrauch); "the users of such a system are like audience members who can march up onto the stage and become various characters, altering the action by what they say and do in their roles" (Laurel). This essay investigates the basic dilemma encountered by Interactive Drama, a dilemma reminiscent of a familiar theological problem: how can the system grant users some freedom of action, and yet enact an aesthetically satisfying narrative scheme ?

   Scott Rettberg - 19.05.2011 - 17:14

7. What is the Point of Compulit?

   A review article of Littérature et informatique. La littérature générée par ordinateur, eds. Alain Vuillemin and Michel Lenoble (Artois Press Université, 1995). (Literature and Informatics. Computer-generated Literature). The discussion of the contributions gathered in this anthology leads to a taxonomy of computer-generated texts based on three main categories: utilitarian (the automated production of texts [such as news summaries] to save human time); cognitive (story-generation conceived as an exploration of creative mechanisms [James Meehan's Tale-Spin]) and aesthetic-experimental (the attempt to produce new literary genres). The experimental category is divided into texts meant to be printed, and texts that exist exclusively in the electronic medium: games, hypertexts, and animated texts ("cyberpoetry"). All of these texts are produced in a collaboration human-machine in which, as Espen Aarseth observes, the computer can play three roles: pre-processor (plot-outline generation), co-processor (dialogue computer-user, such as the ELIZA program), or post-processor (staging and manipulation of texts written by a human). (Source: Author's website)

   Scott Rettberg - 20.05.2011 - 10:30

8. ELIZA — A Computer Program For the Study of Natural Language Communication Between Man And Machine

   Full title: "ELIZA — A Computer Program For the Study of Natural Language Communication Between Man And Machine"

   ELIZA is a program operating within the MAC time-sharing system at MIT which makes certain kinds of natural language conversation between man and computer possible. Input sentences are analyzed on the basis of decomposition rules which are triggered by key words appearing in the input text. Responses are generated by reassembly rules associated with selected decomposition rules. The fundamental technical problems with which ELIZA is concerned are: (1) the identification of key words, (2) the discovery of minimal context, (3) the choice of appropriate transformations, (4) generation of responses in the absence of key words, and (5) the provision of an editing capability for ELIZA "scripts". A discussion of some psychological issues relevant to the ELIZA approach as well as of future developments concludes the paper.

   (Source: Author's abstract)

   Scott Rettberg - 20.05.2011 - 10:51

9. The Archeological Media Lab: A Locavore Approach to Access & Preservation

   The paper describes the Archeological Media Lab, aligning it with the field of Media Archaeology (at the moment the best writings on M.A. in English are probably best found in Erkki Huhtamo and Jussi Parikka’s forthcoming Media Archaeology: Approaches, Applications, and Implications). The lab tries to take on a locavore approach to both sustaining and framing e-literature – one that is primarily hands-on and resolutely of the local, with only a very modest global or online presence.

   (Source: Adapted from author's site)

   Scott Rettberg - 20.05.2011 - 13:21

10. The apparatus of digital literature: a stenographic disposition in five minutes or less

    The apparatus of digital literature: a stenographic disposition in five minutes or less

    Scott Rettberg - 20.05.2011 - 19:06

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