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1. Writing on Complex Surfaces

   Writing in programmable media is theorized in relation to the surface of writing.[1] Within the framework of currently dominant cultural and technological formations, the surface of writing is conceptually simple, and this overdetermines practices of writing. As it is typically conceived, the surface of writing is a flatland plane, a 3rd-dimensionless scroll (however segmented or, indeed, fragmented) on which linguistic symbols, similarly dimensionless, are arrayed. Once language has come to rest on this simple surface, any qualities it may possess of temporality or material depth are bracketed. Programmable media problematize this dominant but simple model, and yet, arguably, its depthless, timeless surface misdirects the composition and publication of writing, even writing that is instantiated in programmable media. In the field of poetics, there are traditions for which the surface of writing is complex. Although rarely made explicit, such approaches to the writing surface have enriched the practices of important writers, particularly poetic writers.

   Patricia Tomaszek - 14.09.2010 - 17:21

2. "mar puro”: An Interview with Aya Karpinska

   An interview on spatiality and three dimensional electronic literature

   Patricia Tomaszek - 05.05.2011 - 15:13

3. The Nihilanth: Immersivity in a First-Person Gaming Mod

   The Nihilanth: Immersivity in a First-Person Gaming Mod

   Rita Raley - 05.05.2011 - 15:28

4. An Interview with David Knoebel on "Heart Pole"

   An Interview with David Knoebel on "Heart Pole"

   Patricia Tomaszek - 05.05.2011 - 16:07

5. An Interview with John Cayley on "Torus"

   An Interview with John Cayley on "Torus"

   Patricia Tomaszek - 05.05.2011 - 16:20

6. Immersion versus Interactivity: Virtual Reality and Literary Theory

   Virtual Reality has been defined as an "interactive, immersive experience generated by computer " (Pimentel and Texeira).This paper investigates the possibility of the literary implementation of these two dimensions. While immersion plays an important role in theories of fiction based on the concept of possible world and of game of make-believe, it presupposes a transparency of the medium that goes against the grain of postmodern aesthetics. Postmodern literature emulates the interactive aspect of VR in a metaphorical way through self-reflexivity, and in a more literal way through hypertext, but both of these attempts involve the sacrifice of the pleasure derived from immersion. In computer-generated VR, by contrast, immersion and interactivity do not stand in conflict but support each other. The difference in behavior between VR and literature is seen to reside in the participation of the body. While textual worlds are created through a purely mental semiotic activity which presupposes an external point of view, the worlds of VR are created from within through an activity both mental and physical.

   Scott Rettberg - 19.05.2011 - 17:09

7. The Gravity of the Leaf: Phenomenologies of Literary Inscription in Media-Constituted Diegetic Worlds

   John Cayley reports on writing and the practice of literary art in the immersive 3D audio-visual environment of the Cave at Brown University, addressing the use of text-as-surface in a three-dimensional space. He develops a conception of new media as “complex surfaces” based on Cave writing courses to confront the relationship between language and embodiment, language and materiality—always attempting to develop a specific literary aesthetics.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 15:10

8. Hyperlinking in 3D Interactive, Multimedia Performances

   Dene Grigar discusses ways in which hyperlinks are utilized in three-dimensional multimedia performance works that offer a narrative or poetic focus. In the new spaces of three-dimensional performance environments, hyperlinking can be incorporated as a performative element into the work and therefore always makes a purposeful act necessary for the performance to unfold. Grigar argues that hyperlinking may denote a change of scene, the progression of a poem’s instantiation or the evocation of musical notes comprising a composition.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 15:36

9. Interview with Dan Waber: “Digital Writing and Writing 3D"

   Interview with Dan Waber: “Digital Writing and Writing 3D"

   Fabio De Vivo - 22.10.2011 - 11:16

10. A New "Gospel of the Three Dimensions": Expanding the Boundaries of Digital Literature in Jörgen Schäfer and Peter Gendolla's Beyond the Screen

    A review of Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres, edited by Peter Gendolla and Jörgen Schäfer.

    Patricia Tomaszek - 21.01.2012 - 22:53

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