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1. Continuous Paper: Print Interfaces and Early Computer Writing

   Paper written for ISEA 2004 in Helsinki, on August 20, 2004 (Scott Rettberg presented). The investigation into early computer writing starts with the observation that "early interaction with computers happened largely on paper: on paper tape, on punchcards, and on print terminals and teletypewriters, with their scroll-like supplies of continuous paper for printing output and input both." Montfort traces back history and challenges the "screen essentialist" assumption about computing.

   Patricia Tomaszek - 20.01.2012 - 23:39

2. Continuous Paper

   Work in progress, presented at the History of Material Texts workshop at the University of Pennsylvania 23 February 2004 (references therefore are omitted).

   Montfort investigates into human-computer interaction before the screen and questions "how early print-based interfaces inform our understanding of print and paper metaphors in current computer interfaces."

   Patricia Tomaszek - 20.01.2012 - 23:59

3. What Hypertext Is

   Over the past couple decades, as the term "hypertext" has gained a certain popular currency, a question has been raised repeatedly: "What is hypertext?" Our most respected scholars offer a range of different, at times incompatible, answers. This paper argues that our best response to this situation is to adopt the approach taken with other terms that are central to intellectual communities (such as "natural selection," "communism," and "psychoanalysis"), a historical approach. In the case of "hypertext" the term began with Theodor Holm ("Ted") Nelson, and in this paper two of his early publications of "hypertext" are used to determine its initial meaning: the 1965 "A File Structure for the Complex, the Changing, and the Indeterminate" and the 1970 "No More Teachers' Dirty Looks." It is concluded that hypertext began as a term for forms of hypermedia (human-authored media that "branch or perform on request") that operate textually. This runs counter to definitions of hypertext in the literary community that focus solely on the link. It also runs counter to definitions in the research community that privilege tools for knowledge work over media.

   Scott Rettberg - 25.05.2012 - 14:15

4. Über Literatur und Digitalcode / Digital Code and Literary Text

   "This paper is based on the general (yet disputable) assumption that the theoretical debate of literature in digital networks has shifted, just as the poetic practices it is shaped after, from perceiving computer data as an extension and transgression of textuality (as manifest in such notions as "hypertext'', "hyperfiction'', "hyper-/ multimedia'') towards paying attention to the very codedness - i.e. textuality - of digital systems themselves."

   Original text by Florian Cramer, retrieved from https://www.netzliteratur.net/cramer/digital_code_and_literary_text.html

    

   Johannes Auer - 05.11.2012 - 22:23

5. Netzliteratur. Umbrüche in der literarischen Kommunikation

   Netzliteratur. Umbrüche in der literarischen Kommunikation

   Jörgen Schäfer - 12.11.2012 - 10:57

6. Narratologie 2004. Herausforderungen der Erzähltheorie durch Netzliteratur und Computerspiele

   Narratologie 2004. Herausforderungen der Erzähltheorie durch Netzliteratur und Computerspiele

   Jörgen Schäfer - 12.11.2012 - 10:58

7. Narrative and the Split Condition of Digital Textuality

   As a form of art and entertainment, digital textuality has conquered both ends of the cultural spectrum. Through computer games, it reaches millions of aficionados who devote a large part of their life to this form of entertainment, while through highly experimental forms of textuality—code poetry, hypertext fiction, and computer-generated literature—it is consumed by a small audience of academics and prospective authors. But digital texts have yet to conquer the middle of the spectrum, namely an educated public capable of artistic discrimination who consumes texts for pleasure, without ambition of writing about them nor of becoming digital authors themselves. This presentation examines the role that narrative can play in creating the type of audience that digital texts currently lack. Two narrative schools within digital textuality will be distinguished: 1. The expansionists, who believe that narrative is a mutable form that differs from culture to culture and evolves in history, crucially affected by new technologies; and 2. The traditionalists, who regard narrative as an invariant cognitive template possessing a transcultural, transhistorical, and transmedial identity.

   Jörgen Schäfer - 12.11.2012 - 10:59

8. Menschliche Praxis. Zu einer Re-Animation der literarischen Anthropologie in den Game Studies

   Menschliche Praxis. Zu einer Re-Animation der literarischen Anthropologie in den Game Studies

   Jörgen Schäfer - 12.11.2012 - 11:02

9. Der ludoliterarische Typenkreis. Analyse und Kategorisierung digitaler Spiele und anderer Cybertexte

   Ausgehend von Stanzels narratologischem Ansatz habe ich ein Modell entworfen, welches die medienspezifischen und unterschiedlichen Erzählweisen digitaler Spiele berücksichtigen soll. Die Perspektive des Spielers, der narrative Modus sowie der Interaktivitätsgrad der Spiele bilden die Achsen des Kreismodells, so dass sich an den sechs Achsenpolen beziehungsweise den Schnittstellen der Achsen mit der Kreislinie verschiedene Game-Genres situieren und analysieren lassen. Das Modell bietet durch die Kriterien ausserdem die Möglichkeit, unterschiedliche Ausprägungen des immersiven Miteinbezugs des Rezipienten zu diskutieren.

   Jörgen Schäfer - 12.11.2012 - 11:05

10. Holopoetry, Biopoetry und digitale Literatur. Parameter einer Annäherung

    Holopoetry, Biopoetry und digitale Literatur. Parameter einer Annäherung

    Jörgen Schäfer - 12.11.2012 - 11:09

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