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The Heuristics of Automatic Story Generation
The intelligence of a story-generating computer program can be assessed in terms of creativity, aesthetic awareness, and understanding. The following approaches are evaluated with respect to these three criteria: simple transition networks, grammar-driven models, simulations, algorithms based on problem-solving techniques, and algorithms driven by so-called "authorial goals." The most serious deficiency of the discussed programs resides in the domain of aesthetic awareness. In order to improve on this situation, story-generation should not follow a strictly linear, chronological order, but rather proceed from the middle outwards, starting with the episodes that bear the focus of interest. The program should select as top-evel goal the creation of climactic situations, create the preparatory events through backward logic, and take the story to the next highlight, or to an appropriate conclusion through a guided simulation. This strategy is ilustrated in a "reverse-engineering," or generative reading of Little Red Riding Hood that simulates the reasoning of an imaginary computer program.
(Source: Author's website)
Scott Rettberg - 19.05.2011 - 17:03
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Connecting Memories: Contextualizing Creative Research Practice
Connecting Memories: Contextualizing Creative Research Practice
Scott Rettberg - 17.06.2011 - 12:09
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Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext
Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext
Eric Dean Rasmussen - 07.07.2011 - 16:37
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Traveling in the Breakdown Lane: A Principle of Resistance for Hypertext
Essay discussing the motif of the car crash in early hypertext fiction, concluding that the breakdown (in many senses) is in fact a key feature of hypertext.
Jill Walker Rettberg - 28.07.2011 - 14:36
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Stuck in a Loop? Dialogue in Hypertext Fiction
"This paper will focus on the use of dialogue in two early hypertext fictions. Both Michael Joyce's afternoon, a story (first published 1987) and Yellowlees Douglas's I Have Said Nothing (1994) have achieved near-canonical status having been excerpted in print in the Norton anthology Postmodern American Fiction (Geyh). As is often the case with hypertext fictions, the writers, Jane Yellowlees Douglas and Michael Joyce, also happen to be two of the foremost theorists of the form, and the sense of mutual influence is unavoidable. The aims of this paper are twofold: to explore the functions of dialogue in these fictions and the extent to which the representations are innovative; and to examine whether we need to reassess our models for understanding the functions and forms of fictional dialogue as we have begun to apply them to the print novel." (Source: taken from the first paragraph of the paper itself)
Jill Walker Rettberg - 01.11.2011 - 12:13
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Beyond Myth and Metaphor: Narrative in Digital Media
The concept of narrative has been widely invoked by theorists of digital textuality, but the promotion of what is described as the storytelling power of the computer has often relied on shallow metaphors, loose conceptions of narrative, and literary models that ignore the distinctive properties of the digital medium. Two myths have dominated this theorization. The myth of the Aleph (as I call it) presents the digital text as a finite text that contains an infinite number of stories. The myth of the Holodeck envisions digital narrative as a virtual environment in which the user becomes a character in a plot similar to those of Victorian novels or Shakespearean tragedies. Both of these myths rely on questionable assumptions: that any permutation of a collection of lexias results in a coherent story; that it is aesthetically desirable to be the hero of a story; and that digital narrativity should cover the same range of emotional experiences as literary narrative. Here I argue that digital narrative should emancipate itself from literary models. But I also view narrative as a universal structure that transcends media.
Eric Dean Rasmussen - 15.05.2012 - 14:07
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Narration, Intrigue, and Reader Positioning in Electronic Narratives
Argues that we still have very poor language for discussing the place of the reader in electronic—or computer-mediated—narratives, and that little work has been done to evaluate the relevance of core narratological concepts like narrator, narratee, and implied reader as tools to describe the process of reader positioning in electronic narratives. The author sees Aarseth's analysis of interactive fiction in terms of an intrigue, with an intriguee and an intrigant as one of the most sophisticated analyses of the reader's position in electronic writing, and extends this model.
Jill Walker Rettberg - 16.09.2012 - 20:16
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Focalization and Digital Fiction
Focalization and Digital Fiction
Eric Dean Rasmussen - 24.09.2012 - 07:23
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The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore
"The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore", by J. R. Carpenter, reflects upon The Broadside of a Yarn, a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with nought but a QR code reader and a hand-made print map of dubious accuracy. The Broadside of a Yarn was commissioned by ELMCIP for Remediating the Social, an exhibition which took place at Inspace, Edinburgh, 1-17 November 2012. The Broadside of a Yarn remediates the broadside, a form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signified that it was intended to be performed.
J. R. Carpenter - 16.10.2012 - 14:52
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The Transformation of Narrative and the Materiality of Hypertext
The Transformation of Narrative and the Materiality of Hypertext
Patricia Tomaszek - 11.10.2013 - 19:14
