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  1. List(en)ing Post

    Raley's essay is a careful and descriptive reading of Hansen and Rubin's interactive installation "Listening Post" paying particular attention to complexities of reading a textual work based on live information feeds contributed by an anonymous crowd, a literary work that is perceived as a live embodied experience in a multisensoral "polyattentive" environment.

    Eric Dean Rasmussen - 31.01.2011 - 12:04

  2. Technics and Violence in Electronic Literature

    Technics and Violence in Electronic Literature

    Eric Dean Rasmussen - 22.02.2011 - 20:51

  3. Why Digital Literature Has Always Been “Beyond the Screen”

    Andrew Michael Roberts demonstrates that digital literature has always been beyond the screen. In many of the practices and framing ideas of electronic literature, he identifies recurrences of key conceptions of modernism and postmodernism such as literalization, enactment, difference, movement, etc. Nonetheless, as he argues, literature is embracing new forms of expression influenced by the evolving mediatechnological possibilities and the increased involvement of the recipient’s whole body.

    (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

    Scott Rettberg - 23.05.2011 - 13:02

  4. Deeper into the Machine: The Future of Electronic Literature

    N. Katherine Hayles's keynote address for the 2002 State of the Arts Symposium at UCLA. Hayles identifies two generations of electronic literature: mainly text-based works produces in Storyspace and Hypercard until about 1995-1997, and second-generation works, mainly authored in Director, Flash, Shockwave and XML in years after that. She identifies second-generation works as "fully multimedia" and notes a move "deeper into the machine." She then reads a number of second-generation works in the context of their computational specificity.

    Publication note: Also published online in Culture Machine Vol. 5 (2003)

    Scott Rettberg - 30.05.2011 - 12:38

  5. Framing Embodiment in General Purpose Computing

    M.A. Thesis, 94 pages

    Elisabeth Nesheim - 20.08.2012 - 02:07

  6. Hors-Categorie: An Embodied, Affective Approach to Interactive Fiction

    The interactive fiction work "Hors-Categorie" stages a virtual encounter between bodies in a hotel room along the Tour de France bicycle race. 

    In the story, the player is confronted with a number of decisions regarding his or her body, which, in the game state exists virtually. Various bodily choices—blood doping, shaving one's legs, peeing in a cup—lead to the generation of affects that alter the game state. My effort in writing this work—concerning doping, cyclists, bodies, and ethics—is to think through the potentialities for engaging, designing, and theorizing new media with an emphasis on the embodied nature of affect. 

    Scott Rettberg - 07.01.2013 - 16:21

  7. 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

  8. Subjective Boundaries: Shelley Jackson's Hypertexts and the Terrain of the Skin

    This presentation traces connections between Shelley Jackson's hypertext, "Patchwork Girl" (1995), and her more recent "Skin" Project (2003-present): a 2095 word short story published only once, tattooed word-by-word onto the bodies of applicants who have elected to become words, henceforth understood as embodying these words. Both works are interested in consequential relationships between living/dying bodies and texts: what it means to embody a text, what texts do to the body. Through avoiding traditional print media, both pieces also call into question the ways we read or write and the future of the book in the age of digital media.

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

    Scott Rettberg - 09.01.2013 - 14:28

  9. Getting Your Hands on Electronic Literature: Exploring Tactile Fictions with the Reading Glove

    “Interactive narrative” is a loaded phrase that invokes different dreams for different populations of people. For new media theorists like Janet Murray (1) and Brenda (2) Laurel, it elicits visions of participatory stories enacted within immersive simulated “holodecks.” For theorists of hypertext and interactive fiction like Jay David Bolter (3) and Emily Short, (4) it suggests branching textual environments and rhizomatic tangles of linked lexia. For researchers in computer science and AI, it has manifested in simulations of believable human characters (5), and intelligent storytellers that direct the action in a simulated storyworld along desirable narrative paths (6). Within the digital games community, theorists like Henry Jenkins, (7) Celia Pearce, (8) and Jim Bizzocchi (9) suggest broad framings of narrative that allow it to infuse and enhance gameplay. Outside of academic research, interactive narrative conjures images of “Choose Your Own Adventure” novels, role-playing games, and improvisational theater.

    Patricia Tomaszek - 01.07.2013 - 17:57

  10. Growing Intimate With Monsters: Shelley Jackson’s Patchwork Girl and the Gothic Nature of Hypertext

    Described by Robert Coover as “perhaps the true paradigmatic work” of the “golden age” of hypertext literature, Shelley Jackson’s Patchwork Girl (1995) provides not only a rewriting of Mary Shelley’s Frankenstein (1818), but an opportunity to consider the ways in which the gothic as a genre serves to problematize the somatic dimension of our writing technologies. In its capacity to touch the reader directly, at the level of the nerves, tissues, and fibres of the body, Patchwork Girl recalls the debates concerning the affective force of the gothic novel, and, in particular, the threat it was thought to pose for women readers. The gothic, in this sense, emerges as the deep and unsettling recognition that the technological is the formative ground of subjectivity, the very condition of our becoming. What Jackson calls “the banished body,” the monstrous materiality of subjectivity, haunts not only the eighteenth-century faith in the powers of rational powers of intellection, but our own post-human dreams of transcendence.

    Jill Walker Rettberg - 06.07.2013 - 09:27

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