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1. Expressive Processing: On Process-Intensive Literature and Digital Media

   Most studies of digital media focus on elements familiar from traditional media. For example, studies of digital literature generally focus on surface text and audience experience. Interaction is considered only from the audience's perspective. This study argues that such approaches fail to interpret the element that defines digital media -- computational processes. An alternative is proposed here, focused on interpreting the internal operations of works. It is hoped that this will become a complement to (rather than replacement for) previous approaches. The examples considered include both processes developed as general practices and those of specific works. A detailed survey of story generation begins with James Meehan's Tale-Spin, interpreted through "possible worlds" theories of fiction (especially as employed by digital media theorists such as Marie-Laure Ryan). Previous interpretations missed important elements of Tale-Spin's fiction that are not visible in its output.

   Scott Rettberg - 13.12.2012 - 16:50

2. New narrative pleasures? A cognitive-phenomenological study of the experience of reading digital narrative fictions

   Thesis for the degree doctor artium. EXCERPT FROM INTRODUCTION: This dissertation aims to address – and answer – some of the questions surrounding the ways in which the interface of the digital computer (also known as the GUI) is impacting how we experience – read – GUI narrative fictions. In my view, questions such as these are of utmost importance if we are to appropriately understand how digital technology is affecting central realms of human existence, such as our experiences of the fictions that are created and displayed in an ever increasing variety of media materialities and technological platforms. The main research questions to be dealt with in the following revolve around processes typically taking place when we read, watch, listen, experience, interpret, are engaged in, and interact with, digital hypermedia narrative fictions – what I, for the sake of simplicity, call GUI fictions. In short, how do we read GUI fictions? How, and why, is this reading different from our reading of narrative fiction in print, or of reading narrative fictions on other screens, such as on TV or in a movie theater?

   Jill Walker Rettberg - 13.12.2012 - 21:28

3. I, Chatbot: The Gender and Race Performativity of Conversational Agents

   Amidst the various forms of electronic literature stands a class of interactive programs that simulates human conversation. A chatbot, or chatterbot, is a program with which users can “speak,” typically by exchanging text through an instant-messaging style interface. Chatbots have been therapists, Web site hosts, language instructors, and even performers in interactive narratives. Over the past ten years, they have proliferated across the Internet, despite being based on a technology that predates the Web by thirty years. In my readings, these chatbots are synedochic of the process by which networked identities form on the Internet within the power dynamics of hegemonic masculinity. Chatbots, in this light, model the collaborative performance humans enact on electronically-mediated networks.

   Scott Rettberg - 14.12.2012 - 01:12

4. A homecoming festival : the application of the dialogic concepts of addressivity and the awareness of participation to an aesthetic of computer-mediated textual art

   A homecoming festival : the application of the dialogic concepts of addressivity and the awareness of participation to an aesthetic of computer-mediated textual art

   Scott Rettberg - 20.01.2013 - 00:01