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Digital Arts and Literature – Is it Just a Game?
“Games are not serious; digital art and literature are playful; therefore they are not serious”. Formulations such as these are sometimes used when discussing the playfulness of digital art and literature. The origin of this argument is based on the traditional opposition between “serious” and “playful”. Because of their interactive nature, digital art and literature have often been considered as particularly close to play - and to “mass culture”. Depending on the approaches, this proximity is interpreted as an opportunity, or as a risk, as I will show in this article.
On the one hand, art and play are so closely related that it has become commonplace to assert: “art is play”, “play is art”. On the other hand, it seems equally impossible to deny the existence of playfulness in art and literature. Indeed, is it not one of their fundamental privileges to allow free, unselfish play with the materials, codes and conventions, while science, craft industry, and industrial design are "condemned" to produce and capitalise?
Patricia Tomaszek - 12.01.2011 - 16:44
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Looking Behind the Façade: Playing and Performing an Interactive Drama
Looking Behind the Façade: Playing and Performing an Interactive Drama
Jörgen Schäfer - 28.06.2011 - 14:33
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Why digital games and networks can help us to change reality and generate concrete changes in social environments
Starting by questioning why digital games and networks can help us to change reality and generate concrete changes in social environments we will research the application of playful techniques and spaces to address the challenges of our present world. We will state that these strategies can be useful to scrutinize specific and real questions. Using social game examples such as Investigate your MP’s Expenses (2009), World Without Oil (2007), Superstruck, Invent the Future (2008), Evoke (2010) and Playing with Poetry (2010), the aim of the paper/presentation is to promote and expand the field of experimental alternate reality games (ARGs) in a broader context. We will analyze some social games such as Farmville or Mafia Wars, derivatives of Facebook networking social programs, and the aim of the work is to research questions like why can players become addicted to this kind of simulation even if these playable environments are monotonous, boring and obvious? Why every day millions of people plant vegetables and flowers in a predictable platform on the web?
Eric Dean Rasmussen - 30.08.2011 - 11:56
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SurREAL: Dramatis Personae on the Digital Stage
This panel will examine the textual (verbal and non-verbal) construction of characters as the key to representation and identity in cyberspace. The concept of “character” is not established a priori, but comes into being as participants in the digital world or text render words, images and movements into a perceived identity.
The panellists will address questions of representation, fiction and reality as well as discussing techniques, patterns and codes used in creating and interpreting digital characters. Is it possible to represent oneself realistically in cyberspace? What is the relationship between realistically intended projections of ourselves and make-believe or fantastic characters? What are the relationships between the construction of characters in narrative and dramatic fiction and in computer games and online communities?
In four complementary and interlinked perspectives on characters in digital environments, we will discuss how real and fictional people are represented and/or represent themselves in the varied contexts of online communities, computer games, hypertext fiction and artificial intelligence.
Jill Walker Rettberg - 09.10.2012 - 22:27
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The ELO and Two E-Lit Exhibits
After introducing the Electronic Literature Organization and some ways to
characterize the concept of e-lit, I describe two small exhibits that
worked well by taking the opportunities offered by two different contexts:Codings, an exhibit at the Pace Digital Gallery, Pace University, New
York. Curated by Nick Montfort. Featuring work by Giselle Beiguelman;
Commodore Business Machines, Inc.; Adam Parrish; Jörg Piringer; Casey
Reas; and Páll Thayer. Gallery directors, Frank Marchese and Jillian
Mcdonald. February 28 - March 30, 2012.Games by the Book, an exhibit at the Hayden Library, MIT, Cambridge,
Massachusetts. Curated by Clara Fernández-Vara and Nick Montfort.
Featuring work by Douglas Adams, Steven Meretzky, and the BBC; Charlie
Hoey and Pete Smith; Jon Thackray and Jonathan Partington; and the
Singapore-MIT GAMBIT Game Lab. September 7 - October 8, 2012.Jill Walker Rettberg - 02.11.2012 - 18:08
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Writing Digital Media
There has been quite a bit of debate about the relationship between games and fiction, with important discussions in Wardrip-Fruin and Harrigan's First Person, Jesper Juul's Half-Real, Marie-Laure Ryan's Avatars of Story, and others. In parallel with this, a number of electronic literature authors have been creating games -- or at least playable experiences -- that have as their focus and reward for play an experience of story, such as Mateas and Stern's Facade, Emily Shorts Galatea, and Stuart Moulthrop's Pax.
Audun Andreassen - 03.04.2013 - 15:32
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'This is Not a Game': Immersive Aesthetics and Collective Play
'This is Not a Game': Immersive Aesthetics and Collective Play
Jill Walker Rettberg - 12.06.2013 - 15:15
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Minecrafted Meaning: The Rhetoric of Poetry in Game Environments
This essay is a synopsis of my fourth chapter from my dissertation. My research consists of game-poems and how they fundamentally alter the experience of “reading” poetry. Ultimately, my argument is that poetic experience is no longer initiated by text, but by the kinetic, audible, visual, and tactile functions in the digital environment that I label as trans-medial space; in effect, these functions sustain the poetry experience, and, thus, require the reader/user of the poem to play, rather than read, as a new form of “reading” the digital game-poem in order experience and interpret a poem’s meaning.
Jill Walker Rettberg - 28.06.2013 - 09:05
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Towards the Recognition of the Shell as an Integral Part of the Digital Text
Although the theory of hypertext fiction does not regard the Shell as a text, writers of digital fiction, have long started to blurr the boundaries between the Reader and the “main” text. Both interpreters of (fictional) hypertexts and pt-ogrammers of hypertext-environments need to acknowledge this fact in order to accomodate current wrltlng practices.
Jill Walker Rettberg - 28.06.2013 - 14:44
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Detective Stories in Digital Games
Literary detective stories have some game-like elements, as they pose an implicit challenge for the reader to solve the crime before they read the solution (Suits, 1985). This paper will examine early detective games to argue that interactive detective investigations are essentially linked to textual exploration and exegesis; as text becomes de-emphasized, the detective work also takes a secondary role.
According to Todorov’s typology of detective fiction (Todorov, 2000), detective games present two stories: the story of the crime and the story of the investigation. The first type of detective fiction, the whodunit, emphasizes the story of the crime, which the detective reconstructs, on the other hand, the thriller emphasizes the story of the investigation, by which the detective gets embroiled into the crime that he is solving.
Jill Walker Rettberg - 20.06.2014 - 18:00
