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1. 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

2. konkret digital: Interview with Johannes Auer about Concrete Poetry and Net Literature

   Interview with Johannes Auer to be published in Concrete Poetry: An International Perspective. Edited by Claus Clüver and Marina Corrêa. (forthcoming)

   Patricia Tomaszek - 19.07.2012 - 13:59

3. Digital Media Poetics presents Patricia Tomaszek

   Via skype, the author presents her work and gives a reading of two works "about nothing, places, memories, and thoughts: robert creeley (1926-2005) and patricia tomaszek in a cut and mixed poem-dialogue" and "Planting Trees Out of the Grief: In Memoriam Robert Creeley"

   Patricia Tomaszek - 28.08.2012 - 13:27

4. E-Learning and Literary Studies - Towards a New Culture of Teaching?

   The introduction of digital technologies into the learning processes has meant the creation of new educational spaces that, when they take place on the Internet and are founded in non-presence and asynchrony, are known as “Virtual Learning Environ- ments” (VLE). VLE constitute new pedagogic realities that must answer to the users’ needs, their educational purposes, the curricula with which they work and, specifically, the formative needs for the people that integrate them. But the key to define “virtual” in terms of human experience and not in terms of technological hardware is the concept of “presence,” which is crucial in our pedagogical model and our way of being comparative literature lecturers in a virtual university. Technologies are tools capable of building a learning frame, although it is necessary to endow them with contents and humanity. Different voices have warned of the sterility of a technological environment that does not have any pedagogic or didactic specificity (different from the traditional models). After all, learning is learning whether it has an ex- tra “e” or not, and so VLE are only as good or as bad as the ways they are used.

   Helene Helgeland - 06.09.2012 - 15:47

5. The Challenge of Cybertext: Teaching Literature in the Digital World

   This article discusses the changing role of literature in the contemporary media landscape. Literary scholarship may well maintain its importance in the digitalizing world, but this requires it to engage in an open dialogue with cultural and media studies. It is important that more attention is paid to contemporary literature as well as to new media offering significant pedagogical possibilities, which should be better acknowledged. The article's main focus is on the emerging field of digital literature. Cybertextuality, especially, is fundamentally changing our notions of the integrity of a literary work, reading, writing and interpretation. I attempt to describe and put into context one sample case of cybertextuality, The Impermanence Agent by Noah Wardrip-Fruin et al. Finally, I discuss some of the practical problems faced by teachers who introduce digital literature in their classrooms.

   (Source: Author's abstract)

   Reprinted in Online Learning Vol 2: Digital Pedagogies (Sage, New York, 2011)

   Patricia Tomaszek - 09.10.2012 - 15:28

6. When Digital Literature goes Multimedia: Three German Examples

   In February 2000 Robert Coover noticed the "constant threat of hypermedia: to suck the substance out of a work of lettered art, reduce it to surface spectacle". Coover's message seems to be: When literature goes multimedia, when hypertext turns into hypermedia a shift takes place from serious aesthetics to superficial entertainment. What Coover points out is indeed a problem of hypermedia. If the risk of hyperfiction is to link without meaning, the risk of hypermedia is to employ effects that only flex the technical muscles. Can there be substance behind spectacle? In this paper I discuss three examples of German digital literature which combine the attraction of technical aesthetics with the attraction of deeper meaning.

   Jill Walker Rettberg - 09.10.2012 - 22:12

7. DAC 2000: A Choose-Your-Own-Trip-Report!

   You are sitting in front of a computer, ready to read about Digital Arts and Culture 2000, a conference held in Bergen, Norway on 2-4 August 2000. If you click, you'll see some comments on that conference from interactive fiction and hypertext author Nick Montfort.

   Jill Walker Rettberg - 09.10.2012 - 22:58

8. Hyperpoems and Hyperpossibilities

   Deena Larsen's M.A. Thesis, submitted to the University of Northern Colorado's Dept. of English.

   Scott Rettberg - 20.10.2012 - 22:17

9. Machine Enhanced (Re)minding: the Development of Storyspace

   This article traces the history of Storyspace, the world’s first program for creating, editing and reading hypertext fiction. Storyspace is crucial to the history of hypertext as well as the history of interactive fiction. It argues that Storyspace was built around a topographic metaphor and that it attempts to model human associative memory. The article is based on interviews with key hypertext pioneers as well as documents created at the time.

   Jill Walker Rettberg - 04.11.2012 - 09:43

10. Authors, Readers, and Progression in Hypertext Narrative

    George Landow, Espen J. Aarseth, Stuart Moulthrop and many
    others have heralded the development of hypertext because they
    believe it represents a revolution in textuality that will radically
    alter how we read and write, including of course how we read and
    write narrative. Print texts, we are reminded by the champions of
    this new medium, are linear while hypertexts are nonlinear.
    Consequently, the argument goes, print narratives encourage reading
    in a fixed, straight-line sequence—one word after another, one
    page after another—under the control of the author. Even postmodern
    attempts to subvert the fixity of the print sequence cannot
    overcome the stability of the printed page and the restrictions on
    format imposed by the traditional book. Hypertext narratives, on
    the other hand, are fluid by design; their sequence changes based
    on readerly decisions. To put it another way, as those who advance
    this argument sometimes do, readers approach hypertext narratives
    from variable positions within the narrative, and so their progression
    through the text—indeed, the progression of the text—is not

    Patricia Tomaszek - 16.11.2012 - 15:32

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