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  1. Aya Karpinska and Daniel C. Howe

    This case study was originally prepared for, but does not appear in, New Directions in Digital Poetry (New York: Continuum, 2012); see http://newdirectionsindigitalpoetry.net

    Source: footnote 2 to the article

    Patricia Tomaszek - 06.09.2012 - 22:54

  2. From Audio Black to Artful Noises: Looking at Sound in Electronic Literature

    The interplay between sound and image was a vexed issue for practioners and critics of the 20th century art screen art. As the story goes, some argued for a "complex interaction of sound with image" (Kahn 142) others for the political necessity of non-synchronized sound. Early on, "the dream" of "correlating sound and image" through localization (Altman) to deploy sound so as "to reinforce the reality effect" and to "induce[...] spectators to center their gaze." (Polet). There is a sense of disappointment in this trajectory, from the "talkie"to Dolby Surround, by which the sound track comes to maintenance of an illusionistic 3-dimensional visual space. 

    Scott Rettberg - 08.01.2013 - 11:36

  3. Corporeal Poetry: Experiments with 3D Poetry in the MOVE Lab

    This presentation discusses 3D electronic literature in production in the MOVE Lab, the Motion Tracking Virtual Environment Lab located at Washington State University Vancouver. Specifically, it will talk about three projects—Rhapsody Room, Things of Day and Dream, and Dancing—the methods used to create them, focus of the research underlying their production, and future plans for work generating from the lab.

    Scott Rettberg - 08.01.2013 - 23:15

  4. Code: Redact <Redact>

    The "Codework Project" is an NSF (National Science Foundation) funded exploration of codework, language, performance, and embodiment, in relation to philosophies of the analog and digital. The exploration has resulted in exciting work at a leading edge of digital media practice. The project is based at West Virginia University, and continues several years of collaboration between the art/writer Alan Sondheim, WVU's Center for Literary Computing (CLC), and the Virtual Environments Laboratory (computer sciences). The work employs a range of technologies to map and remap the 'obdurate real' of bodies into the dispersions and virtualities of the digital (and back again, into real/physical spaces). We're working with both analysis and experience of coding and codework in order to understand the natures of the real and virtual. How is the real read? How is the virtual? Is reading even appropriate here? These questions play out in a series of artworks (videos, films, performance, installation) and theoretical texts.

    Scott Rettberg - 09.01.2013 - 13:26

  5. 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

  6. Lucid Mapping: Information Landscaping and Three-Dimensional Writing Spaces

    This paper documents an interactive graphics installation entitled Lucid Mapping and Codex Transformissions in the Z-Buffer. Lucid Mapping uses the Virtual Reality Modeling Language to explore textual and narrative possibilities within three-dimensional (3D) electronic environments. The author describes the creative rationale and technical design of the work and places it within the context of other applications of 3D text and typography in the digital arts and the scientific visualization communities. The author also considers the implications of 3D textual environments on visual language and communication, and discriminates among a range of different visual/ rhetorical strategies that such environments can sustain.

    Jill Walker Rettberg - 28.06.2013 - 13:21

  7. We Have Not Understood Descartes

    Discussion of artist's own work, with contextualisation. Originally written in 1995.

    Jill Walker Rettberg - 28.06.2013 - 13:38

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