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Interactive Digital Narrative
The book is concerned with narrative in digital media that changes according to user input—Interactive Digital Narrative (IDN). It provides a broad overview of current issues and future directions in this multi-disciplinary field that includes humanities-based and computational perspectives. It assembles the voices of leading researchers and practitioners like Janet Murray, Marie-Laure Ryan, Scott Rettberg and Martin Rieser. In three sections, it covers history, theoretical perspectives and varieties of practice including narrative game design, with a special focus on changes in the power relationship between audience and author enabled by interactivity. After discussing the historical development of diverse forms, the book presents theoretical standpoints including a semiotic perspective, a proposal for a specific theoretical framework and an inquiry into the role of artificial intelligence. Finally, it analyses varieties of current practice from digital poetry to location-based applications, artistic experiments and expanded remakes of older narrative game titles.
Scott Rettberg - 26.04.2015 - 12:19
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The American Hypertext Novel, and Whatever Became of It?
The chapter provides a brief history of experiments in the hypertext novel in America during the 1990s. The 1990 Eastgate publication of Michael Joyce’s Afternoon, A Story earned hypertext fiction a place within institutionalised literary culture. Robert Coover’s 1992 essay "The End of Books" announced hypertext fiction as a challenge to traditional conceptions such as narrative linearity, the sense of closure, and the “desire for coherence.” While some theorists, such as George Landow, praised hypertext for instantiating poststructuralist theory, others such as Sven Birkerts, in The Gutenberg Elegies, regarded it with strong concern. The publication of more hypertext fictions such as Stuart Moulthrop’s Victory Garden (1991) and Shelley Jackson’s Patchwork Girl (1995) resulted in a small, dedicated interest community. However, no paradigm-shifting rise in interest took place.
Scott Rettberg - 26.04.2015 - 16:27
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Posthyperfiction: Practices in Digital Textuality
By the turn of the millennium hypertext fiction was no longer the predominant form of digital writing produced by authors of electronic literature. In recent years, electronic poetry is more often produced than hypertext fiction, and rich multimedia largely predominates over text. Yet some notable exceptions, such as Judd Morrissey’s database narrative The Last Performance (2007), and Paul La Farge’s Luminous Airplanes (2011) are continuing to push the hypertext novel in some new directions. If hypertext per se is no longer predominant, many aspects of hypertext fiction, such as trigger actions that extend narrative texts and texts that integrate elements of spatial navigation, are increasingly integrated into newer forms such as locative narrative and virtual reality narratives.
Scott Rettberg - 27.04.2015 - 09:51
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Linking Strategies
Linking Strategies
Daniela Ørvik - 29.04.2015 - 16:43
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The Ballad of the Internet Nutball: Chaining Rhetorical Visions from the Margins of the Margins to the Mainstream in the Xenaverse
This dissertation is just one portal into the cyberspace-based virtual world called the "Xenaverse," so named because of its association with the world-wide syndicated television program, "Xena: Warrior Princess." The Xenaverse cannot be contained by this dissertation, but this project seeks to link and merge with the webbed Xenaverse culture in cyberspace. To learn about the Xenaverse you must step through a portal, become immersed and explore, both within and beyond the blurred boundaries of this dissertation, and into the Xenaverse itself. When you are ready to leave, you will have to find your way out, for just as this hypertextual dissertation has an entry portal, it also has an exit portal, a space for you to debrief and share your thoughts on your way out, to contribute to the ongoing dialogue that is this dissertation web on the Internet.
Patricia Tomaszek - 02.10.2015 - 10:51
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Archiving Roundtable
Listed as one of the main themes of the Bergen 2015 ELO conference is the following question: is “electronic literature” a transitional term that will become obsolete as literary uses of computational media and devices become ubiquitous? If so, what comes after electronic literature?
The notion of obsolescence has been a recurring issue in electronic literature since at least 2002, the date of the ELO Conference at UCLA. At that time, archiving became a general concern in the field. ELO responded with documents such as Born-Again Bits, Acid-Free Bits, and the ELC 1 and 2 Collections. Since that time, with the continual evolution of computational media and devices, the problems of archiving have continued to grow more complicated. The panel proposes to address issues of Archiving based on this re-wording of the conference theme: is electronic literature a transitional practice that will become obsolete as the multiplication of forms of both computational media and devices make literary artifacts more and more difficult to preserve?
Hannah Ackermans - 31.10.2015 - 10:54
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The Many Ends of Network Fictions: Gamebooks, Hypertexts, Visual Novels, Games and Beyond
This paper presents a digital humanities structural approach to branching stories across several media forms and genres over the past six decades – with special attention to patterns of endings in different narrative networks, as well as meta-patterns that mark the beginnings and endings of genres of branching literature.
Hannah Ackermans - 14.11.2015 - 15:58
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Ephemeral Words, Ephemeral People: Suicide and Choice in Twine Games
On April 10th, 2014, game designer Porpentine released a game called Everything you swallow will one day come up like a stone with the intention of deleting it at the end of the day: “This game will be available for 24 hours and then I am deleting it forever. You can download it here until then. What you do with it, whether you distribute, share, or cover it, is up to you.” The game has lived on through what Porpentine predicted as “social means,” but it was designed as an ephemeral text, and one which the author deliberately destroyed as part of the act of creation. This idea of a vanishing text is interwoven with the experience of electronic literature, as Marjorie C. Luesebrink notes, as part of a practice of “text erasure” as embracing “self-undermining, undecidability, disdain for commercialization, ambivalence about technology, struggle against the presence of text itself, and response to overwhelming data” but also “the fragility of memory” (2014).
Hannah Ackermans - 27.11.2015 - 14:52
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Murmurs, Open Corpus of Online Written Poetry – The End of Isolated Poems
Murmurs seeks to gather and link texts written with a poetic intention and available in the net in order to present them in a consistent form within the outline of a hypertext. These texts will be identified by an algorithm and interconnected through semantic links generated with the use of coincident words.
Thanks to this process, the texts with poetic format, already published online, will become a sole extensive and surfable piece that can be analyzed and can receive feedback from blogs, twits, and by any other indexable means. This way we seek to generate a piece of e-poetry by uniting those expressive texts in the net that cannot individually be classified as e-poetry. In order to achieve this we will use algorithmic processes, databases, crawlers for indexing, Big Data analysis, all presented as self-generated hypertexts.
The study of these texts through systems of computer linguistics will allow finding coincidences in the use of language with expressive intentions in the net. In a second moment, an API (application programming interface) will open and allow the free processing of the information gathered.
Hannah Ackermans - 28.11.2015 - 14:09
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Hyperfiction Moulthrop’s Computer Novel Weaves a Web of Alternative Endings
Hyperfiction Moulthrop’s Computer Novel Weaves a Web of Alternative Endings
Alvaro Seica - 10.03.2016 - 15:19
