Search

The search found 39 results in 0.011 seconds.

Search results

1. Forms and Platforms

   Forms and Platforms

   Chiara Agostinelli - 29.08.2018 - 15:15

2. Algorithmic Invention

   In his 1966 essay “Rhétorique et enseignement,” Gérard Genette observes that literary studies did not always emphasize the reading of texts. Before the end of the nineteenth century, the study of literature revolved around the art of writing. Texts were not objects to interpret but models to imitate. The study of literature emphasized elocutio, or style and the arrangement of words. With the rise of literary history, academic reading approached texts as objects to be explained. Students learned to read in order to write essays (dissertations) where they analyzed texts according to prescribed methods. This new way of studying literature stressed dispositio, or the organization of ideas. Recent developments in information technology have further challenged paradigms for reading literature. Digital tools and resources allow for the study of large collections of texts using quantitative methods. Various computational methods of distant as well as close reading facilitate investigations into fundamental questions of the possibilities for literary creation. Technology has the potential for exploring inventio, or the finding of ideas that can be expressed through writing.

   Li Yi - 29.08.2018 - 15:27

3. Gestural Semiotics and App Fiction

   In his theory of gestural manipulations, Bouchardon (2014; see Ensslin 2014: 82-83) starts from the assumption that “all clicking is interpretive” (160). He proposes a refined view of how readers interact with digital media through a “repertoire of gestures” (161-162), the use of which depends on the physical device used to interact with a particular text. In his view, analyses of gestural manipulations happen at five distinct levels: (1) the gesteme, which is an individual move, such as a key stroke or a mouse click, linking haptic move and interactive interface item; (2) the acteme, which refers to a sequence of individual gestemes combining to form a larger unit of gestural meaning, such as drag-and-drop; (3) the semiotic unit of manipulation (“SUM”), which is the sum of identical or similar actemes and their semiotic function; (4) media coupling, which denotes specific functions and meanings of SUMs in their medial contexts; and (5) interactive discourse, which happens at the superordinate level of digital text in context, and relates to the meanings of gestural interactions against this larger backdrop. 

   Susanne Årflot Løtvedt - 29.08.2018 - 15:28

4. E-Lit in the Gutter: Applying McCloud's Transition Categories to Interactive Fiction

   Scott McCloud’s Understanding Comics has been a staple text in digital media classes for decades. Chapters focusing on topics such as symbolic and iconic representation, relationships between word and image, and the illustration of time provide powerful insights into the creation and interpretation of digital works. McCloud’s analysis of the visual-centric comic medium bears obvious relevance to what we create and see on the screen. For those working in interactive fiction, however, the most useful chapter may be the one dedicated to what cannot be seen. Chapter 3, “Blood in the Gutter”, examines the physical and narrative gaps between frames in a comic strip or book. These gaps, or “gutters” are the visible whitespaces between inked panes and, simultaneously, the conceptual spaces between points in a narrative. McCloud’s examination of these spaces offers valuable insights for both authors and readers of the code-triggered gaps between hyperlinked elements of an interactive fiction. 

   June Hovdenakk - 29.08.2018 - 15:30

5. Social Media: Problems & Projects

   Social Media: Problems & Projects

   Carlos Muñoz - 29.08.2018 - 15:41

6. e-Loops in e-Lit: Mechanical Reflexive Reading

   Loops are mostly patterns: patterns based on a predetermined set of repetitions, and that allows for a recognizable sense of progression and movement. It is used and perceived as a structure whose impact on interpretation can be considerable. This presentation focuses on how the loop defined as a shape, a process and a pattern becomes a figure in contemporary electronic literature works and practices. I will investigate this particularity of digital writing by examining how loops condition reading and writing practices. How do e-loops revisit interpretation processes? More specifically, does the loop’s reflexivity echoes the electronic text it produces?

   Li Yi - 29.08.2018 - 15:48

7. Transforming Theoretical Textual Analysis into an Interactive Digital Game

   This paper will outline the material process and theoretical underpinnings whereby I turned a critical practice of reading a philosophical text, in this case Plato’s Phaedrus, into an electronic, interactive, Twine game. The game, called “Plato’s Phaedrus: a Memory Pharmacy,” is a rhizomatic dialogical game whereby players engage in a procedure of enacting verbal dialectics upon an interactive text that is interspliced with both Platonic passages and transcriptions of contemporary interlocutor's dialectical analysis upon the Phaedrus. The game is played on Twine, an open-source tool for non-linear storytelling. Players choose a character, either Socrates or Phaedrus, and begin by reading aloud scripted lines of the Platonic text. As the dialogue continues, it becomes unclear if the text has departed from the original Platonic dialogue as the content mixes in anachronisms and the style vears upon the colloquial. Soon conversation choices are introduced as players can choose which line to speak aloud, and thereby steer the dialogue in different conversational directions.

   June Hovdenakk - 29.08.2018 - 15:51

8. Literature Mods

   This paper presents a critical framework about literature mods—modifications of source code and surface of literary works—and a set of new empirical methods—modifying deformances—as a way of reading and analyzing the behavior of digital kinetic poems, since they move in time and space. How to simply read poems behaving as changing events? How to read poems that display at extremely high speed? How to critically analyze surfaces of inscription that may be impossible to be read? What methods of criticism can be set in practice in order to read kinetic poems? The problem of how to read digital poems, how to interpret them, and how to write criticism about them is closely tied to what kind of methods the reader and scholar use. Some of these methods can, and should require practical engagement with the creative works, a point that C. T. Funkhouser (2014) highlights. In fact, that is the type of “computational poetics” methodology that, in “operating” the code and interface, Stephanie Strickland and Nick Montfort (2013) call for.

   Li Yi - 29.08.2018 - 15:57

9. Digital Deep-Sea Diving: navigating the narrative depths of E-lit and VR

   Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different as water is from air, that takes over all of our attention, our whole perceptual apparatus. We enjoy the movement out of our familiar world, the feeling of alertness that comes from being in this new place, and the delight that comes from learning to move within it. 
   –Janet Murray, Hamlet on the Holodeck

   Akvile Sinkeviciute - 04.09.2018 - 23:04

10. The Posthuman Poetics of Instagram Poetry

    Instagram poetry, a type of digital poetry is, as the name implies, poetry that is produced for distribution through the social media channel Instagram and most usually incorporates creative typography with bite size verses. 

    Instagram poetry can demonstrate the cultural impact of a posthuman cyborgian fluidity of borders and forms in that we essentially find ourselves left with anthropophagic texts - cannibalistic texts that remix, reuse and re-appropriate content. Digital texts can no longer be regarded as singular standalone objects rather they are constantly changing assemblages in which inequalities and inefficiencies in their operations drive them towards breakdown, disruption, innovation and change 

    sondre rong davik - 05.09.2018 - 14:54

Pages