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1. A Literatura Factorial [l!]

   By focusing on hyperfiction, this paper presents some proto-hyperfictions, dealing with literature's combinatorial processes (ars combinatoria), and with its composition based on permutations. This practice, which continues today, although using different techniques and effects, I call factorial literature [l!]. My aim is to introduce the concept of factorial literature as a transtemporal genre that has been intensified in the context of electronic literature. In the analysis of hyperfiction, I return to the definitions of hypertext by Theodor Holm Nelson (1965) and Gérard Genette (1982). Referring back to essays by Italo Calvino (1967) on literature, mathematics and cybernetics, and articles by Robert Coover (1992, 1993) about the new literary practices in digital environments, I prepare the coordinates for a revaluation of hyperfiction's recent history and its software, namely through the transient concept of constant restart, associated with the reader's new role as user.

   Patricia Tomaszek - 02.07.2013 - 17:01

2. The Emergence of Electronic Literature Exhibition Catalogue

   “The Emergence of Electronic Literature” exhibit includes objects and artifacts, books, computers and software, posters and ephemera documenting the rise of the field of electronic literature over the past four decades. Electronic literature includes literary works that take advantage of the context of the computer and the contemporary networked environment. This broad category of digital work includes genres such as hypertext fiction and poetry, kinetic poetry, computer art installations with literary aspects, interactive fiction, novels that take the form of emails, SMS messages, or blogs, poems and stories that are generated by computers, network-based collaborative writing projects, and literary performances online that develop new ways of writing. The field is essentially focused on potentially transformative uses of the computer to develop new literary genres, and the experiments that contemporary writers and artists are conducting within the new communications paradigm.

   (Source: Introduction to the exhbition catalogue)

   Scott Rettberg - 17.08.2013 - 16:43

3. Authorship and Autership in the Collaborative Development Process of Text-Based Games

   The collaborative development of text-based Multi-User Dungeons (MUDs) has afforded writers an electronic medium for the discussion, production, and publication of e-literature. A MUD is designed to provide an immersive and interactive experience, and is achieved by the creation of a code-based structure that supports a literary text. However, when multiple contributors are involved there is a tension between the inherently fixed nature of literature and the more fluid versioning of software. In many software development environments, ownership over a work is considered to be counter-productive, whereas authorship of literature is assumed more freely and, as a means of contextual explication, is actively encouraged. MUDs must therefore function under colliding principles of authorship and ownership. The production of a large MUD’s literary text is conceived similar to the cinematic production of a film, with the lead designer of a MUD assuming the role of a ‘director’. The production and proliferation of electronic literature presents new and unique challenges to both the longitudinal administration of a MUD and to the coherence of the literary text.

   Jill Walker Rettberg - 23.08.2013 - 12:04