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Digital Media
The chapter takes readers through a semester of teaching narrative-based electronic literature works, including interactive fiction, storyspace hypertexts, web hypertexts, email fiction and interactive web-based narratives.
Scott Rettberg - 13.01.2011 - 15:24
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Workplace is Mediaspace is Cityscape: Nick Montfort on Book and Volume
Workplace is Mediaspace is Cityscape: Nick Montfort on Book and Volume
Eric Dean Rasmussen - 08.03.2011 - 14:54
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Curveship: An Interactive Fiction System for Interactive Narrating
From the publication: Interactive fiction (often called “IF”) is a venerable thread of creative computing that includes Adventure, Zork, and the computer game The Hitchhiker’s Guide to the Galaxy as well as innovative recent work. These programs are usually known as “games,” appropriately, but they can also be rich forms of text-based computer simulation, dialog systems, and examples of computational literary art. Theorists of narrative have long distinguished between the level of underlying content or story (which can usefully be seen as corresponding to the simulated world in interactive fiction) and that of expression or discourse (corresponding to the textual exchange between computer and user). While IF development systems have offered a great deal of power and flexibility to author/programmers by providing a computational model of the fictional world, previous systems have not systematically distinguished between the telling and what is told.
Patricia Tomaszek - 22.07.2011 - 18:44
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Cybertext Killed the Hypertext Star
Cybertext Killed the Hypertext Star
Eric Dean Rasmussen - 01.09.2011 - 14:14
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Interactive Fiction
Interactive Fiction
Eric Dean Rasmussen - 09.05.2012 - 08:58
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Galatea’s Riposte: The Reception and Receptacle of Interactive Fiction
When I open the Spatterlight application to access “Galatea,” one of Emily Short’s many fabulous
pieces of interactive fiction, a supple string of text hails me, flirts with me, and stops just short of
calling me by name. The more I read, the more I learn about the source of the text itself, Galatea.
“She” is a simple yet oddly convincing AI, one who is as reactive as she is acted upon, whose words
emerge in response to my own, and whose short temper has shut down our collective story more
times than I can count. As startling as her salutations initially seemed and as accustomed to her
spurning me as I have become, I remain intrigued by Galatea’s overt and shameless invocation of her reader—in this case, me.Eric Dean Rasmussen - 14.06.2012 - 16:34
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The Presumed Literariness of Digital
This presentation will challenge the current, too quickly determined relationship between
the ‘literary’ and digital media. The presumed literariness of digital art--these days, anything
from performance art to virtual sculpture work--muddles the already confused and meandering
genre of electronic literature, leading away from acts of reading and remarking on text and its location in new media. Electronic literature began as a study of literary writing produced and
meant to be read on a computer screen, opening up new possibilities for interactive and dynamic
storytelling, utilizing the new medium’s ability for linking lexias. The literariness of this work
is manifest: the work was primarily textual, the centrality of reading paramount. Textuality was
at the heart of the work, thus the term electronic literature was appropriate and uncontested.
Lately, ‘electronic literature’ is an umbrella-term for all things digital. A spectrum of genres
and forms are included, among them video games, interactive fiction, digital art, and (virtual)Eric Dean Rasmussen - 19.06.2012 - 14:41
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From Reality to Interactive Fiction and the Way Back
From Reality to Interactive Fiction and the Way Back
Eric Dean Rasmussen - 22.06.2012 - 16:44
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Shakespeare in Simlish? Responsive Systems and Literary Language
There is a moment that can happen when reading/playing an interactive fiction. The system just presented some text, perhaps quite engaging or even beautiful. And then one tries to reply, using some of the same language, only to receive an error. The underlying system doesn't can't hear the language with which it speaks. The language it displays is written ahead of time, while the language it receives must be parsed and acted upon at runtime.
There is something uneasy about this disjuncture, and one response is to try to avoid all such problems. Will Wright's Sims speak only in gibberish sounds and visual icons, so that the surface representation of language matches the very simple internal representation of what they can discuss. Chris Crawford currently plans for his new storytelling system to avoid the construction of English-like sentences found in Storytron — instead moving to an icon language intended to help players better understand the internal representations (much more complex than those in The Sims) on which his story system will operate.
Eric Dean Rasmussen - 22.06.2012 - 16:55
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Determining Literariness in Interactive Fiction
Questions whether the world presented in interactive fiction is a "literary one." Defines "literariness" as quality of "making strange" that which is linguistically familiar. Randall presents study of: "Mindwheel,""Brimstone,""Breakers,""A Mind Forever Voyaging,""Portal," and "Trinity." Suggests that the literariness of interactive fiction comes out of its concern for "making strange" what is familiar and vice versa.
Jill Walker Rettberg - 29.06.2013 - 09:42