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1. All Together Now: Collective Knowledge, Collective. Narratives, and Architectures of Participation

   This essay is an exploration of the history and methodologies of collective narrative projects, and their relationship to collective knowledge projects and methodologies. By examining different forms of conscious, contributory, and unwitting participation, the essay attempts to develop a richer understanding of successful large-scale collaborative projects. The essay then examines large-scale architectures of participation in Wikipedia and Flickr to extrapolate from those observations potential methodologies for the creation of collective narratives.

   (Source: Author's abstract)

   Scott Rettberg - 26.03.2011 - 18:08

2. The Compelling Charm of Numbers: Writing for and thru the Network of Data

   In postmodern times writing is different. With Facebook the personal diary has returned, reformulated for the 21st century. But this is not the diary as we use to know it. Here time gains a persistence and epistemological import and the person or persons recorded shift from being narrator to the quantified subject. This is not only a philosophical or psychological issue but also an economic and political one.

   Elisabeth Nesheim - 27.08.2012 - 13:27

3. (R)Evolutionary Communication: Defining and Refining Digital Literature, Art and Storytelling

   As an educator as well as Director of Digital Media Studies at the University of Detroit Mercy, my pedagogical and personal interests lie in how to use media to incorporate inter-disciplinary studies; to use sound, images as well as visual and narrative compositions to communicate multi-dimensional ideas, passions and concepts. In relation to this inter-disciplinary approach, I incorporate the concept of "mixing" to weave together space, design, technology, story-telling and critical discourse. One of the concepts I try to reinforce is that 'space' includes the psychological as well as the physical. In addition, I teach digital media students that "design" is the intentional approach to choreograph the experiential and that digital technology is a tool for exploring these ideas. Accepting this, I challenge the students to consider: how does the user/viewer experience and process the interaction between digital media and the "narrative" of the everyday? 

   Scott Rettberg - 09.01.2013 - 14:35

4. The Machinimatic Moment

   "The Machinimatic Moment" discusses a type of filmmaking that uses videogame engines (commonly referred to as machinima). I contend machinima exists within a liminal space between a number of diapoles including: production/consumption, play/cognition, and synthesis/critique. While much of machinima can be considered self-referential in that it consistently remarks upon the game itself and, in many ways, its limitations, other productions reveal sophisticated, compelling stories that are neither game nor traditional filmic narrative. I conclude by arguing that its liminality gives machinima distinctive and interesting qualities.

   (Source: Author's abstract, 2008 ELO Conference)

   Scott Rettberg - 09.01.2013 - 14:41

5. Narrative Archaeology and the New Narrativology

   To reconsider narrative and its relationship to new media one must look at the spatial possibilities and rich subtext already present in the cities and roads away from hypertext and screen specific data forms. The majority of work dealing with gps is emphasizing the leaving of traces, of another layer to enhance. This misses a huge area of potential. The city spaces can now be "read" in all the layers of architecture, ethnography, layers of land usage, and the narratives of people lost in time. Writing can become one of a story space constructed of fictive detail to establish story space AND the details of the steets and buildings themselves and their details (much of which is unkown to most who pass them). Juxtaposition, experiential metaphor, a sense of not V.R with one still in one world in active in another as story space, but active in both. The new writing form creates a new sense of detail and metaphor as well as of process itself, with many exciting new possibilities.

   (Source: Author's abstract, Incubation3 conference, trAce Archive)

   Scott Rettberg - 19.01.2013 - 23:39

6. Space for writing: a sidelong glance at the history of immersive spatial hypertext

   The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.

   (Source: Author's abstract for ELO_AI)

   Audun Andreassen - 14.03.2013 - 14:42

7. Narrative choice-making, literary trajectories and interactive environments: on the structure and writing of the Unknown Territories

   This artist paper examines in detail and poetic dimensions both the content and construction of the Unknown Territories project. This project incorporates two literary histories constructed along paths dissecting imagined landscapes of the western Canyonlands. The first paths follow an exploration narrative and in the second, imagined 100 years later, users take on a landscape facing development and destruction. The presentation is based on forthcoming papers in the books Switching Codes (Chicago, 2010) and Picture This (Minnesota, 2011).

   Audun Andreassen - 20.03.2013 - 09:56

8. Creating: Adventure in Style and The Marble Index in Curveship

   I describe the process of writing and programming the first two full-scale interactive fiction pieces in the new system I have been developing, Curveship. These two pieces, Adventure in Style and The Marble Index, are meant, in part, to serve as examples for authors using this system. More importantly, though, they are initial explorations of the potential of Curveship and of the automation of narrative variation. They were also undertaken to help provide concrete system-building guidance as development of Curveship progressed toward a release. Adventure in Style is a port of the first interactive fiction, the 1976 Adventure by Will Crowther and Don Woods, which adds parametric variations in style that are inspired by Raymond Queneau's Exercises in Style. The Marble Index simulates the experiences of a woman who, strangely disjointed in time and reality, finds herself visiting ordinary moments in the late twentieth century; the narration accentuates this character's disorientation and contributes to the literary effect of incidents.

   Audun Andreassen - 03.04.2013 - 15:56

9. Analysis of Fitting the Pattern

   The objective of this communication is the application of ideas and tools encountered in the field of study of narratology and its consideration as a narrative genre so that the chosen work, Fitting the Pattern, may be analysed and differences seen that may arise when approached from a different frame of the print. It is hoped to show with this approach, how in order to be studied, digital narrative works require new concepts and how more investigation is needed into how the reader receives the work. For example, after analyzing the work of Christine Wilks it was seen to be necessary to deepen the skills required by the reader in order to enter into the work, to establish functional guidelines for the reader, so as to remain within the orientation of the text, etc. It is not just a question concerning only in how the work is received, but also how space and the other approaches to the work need concepts and approaches which are more adequate for the reality presented by the digital narrative. As has been shown in the analysis of Fitting the Pattern, it has not been possible to capture all that is contained in the text using the type of analysis used up to now.

   Audun Andreassen - 10.04.2013 - 11:42