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The Interactive Onion: Layers of User Participation in Digital Narrative Texts
Using the metaphor an onion, Ryan provides a formalist analysis of four different levels of interactivity, plus a fifth meta-level, in digital narratives.
Eric Dean Rasmussen - 08.04.2012 - 09:16
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Digital Literature: Theoretical and Aesthetic Reflections
The emergence of a new phenomenon – digital literature – within the field of
literary studies calls for the reorganization and creation of new theoretical and
analytical repertoires. As models of communication change, so do
reception and production processes accompanying these changes. Within these
altered scenarios, the dissertation Digital Literature: Theoretical and Aesthetic
Reflections is a response to the aesthetic and theoretical challenges brought on by
computer-based literature. As a methodological strategy, the dissertation articulates
recent trends in the theory of digital aesthetics – remediation (BOLTER),
eventilization (HAYLES), correlations of performativity, intermediality and
interactivity with meaning-driven analysis (SIMANOWSKI), Medienumbrüche
(GENDOLLA & SCHÄFER) – with theories of production of presence
(GUMBRECHT), autopoietic communicative models (LUHMANN) and closereadings
of digital works. By scripting a dialogue with key theorists from print
literary theory as well as new media theorists and artists in the burgeoning field,Luciana Gattass - 08.05.2012 - 14:38
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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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Reading Augmented Spaces and the Dimensions that Define Them
Most new media work establishes interactivity within a curated installation space: a gallery, a festival, or an area whose purpose is to exhibit art. However, recent experiments in new media narratives have made use of the capabilities of smartphones and tablets to present experiences that are aware of the user’s position in space and
even their current behavior or object of attention.Specifically,augmented reality works set themselves apart by re-contextualizing environments and objects encountered in everyday life, removing the fourth wall and blurring or eliminating an interactive experience's boundaries. This differs markedly from the purism of the imagination tapped by literature, and often even favors more realistic integration, in contrast to stylistic depictions and abstractions used in monitor-based works. Augmented reality’s strength and interest lies in how it embeds a story in an environment, or how it can be used to awaken new awareness of a viewer to their surroundings. This bridges the world of the reader with the diegesis of the narrative, resulting in works that react to the immediacy of the experienced space.
Eric Dean Rasmussen - 14.06.2012 - 15:13
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Condors' polyphony and jawed water-lines catapulted out: Gnoetry and Its Place in Text Processing's History
As chronicled on the “Beard of Bees” website, authors involved with Gnoetry, “an on-going experiment in human/computer collaborative poetry composition”, have collectively engaged with digital textual processing for more than a decade (see http://beardofbees.com/gnoetry.html and also http://gnoetrydaily.wordpress.com/). In 2011, the group published their first anthology, Gnoetry Daily, Vol. 1, a 52 page collection of verse spun with programs named Gnoetry, charNG, Infinite Monkeys, ePoGeeS, welatanschauung, and JanusNode, with accompanying commentary by Eric Elshtain, eRoGK7, Matthew, edde addad, nathanielksmith, and DaveTolkacz.
Eric Dean Rasmussen - 14.06.2012 - 15:16
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Transient Self-Portrait
Transient self–portrait is an artistic research project with the aim of creating an interactive piece.
I take as the point of departure two pivotal sonnets in Spanish literature that are normally studied
alongside each other, En tanto que de rosa y azucena by Garcilaso de La Vega, a 16th Century
Spanish poet, using Italian Renaissance verse forms and Mientras por competir con tu cabello by
Luís de Gongora, a 17th Century Spanish poet from the Baroque period. Gongora’s sonnet is a
homage to Garcilaso’s and the styles and the cultural aspects that appear on the sonnets are very
different reflecting the attitudes from the Renaissance and the Baroque.Eric Dean Rasmussen - 20.06.2012 - 19:33
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Art at the biological frontier
In this paper I will discuss three recent electronic art works in which biological processes or interfaces are investigated. These works are entitled "Teleporting an Unknown State" (1994/96), "A-positive" (1997), and "Time Capsule" (1997) The first work created a situation in which actual photosynthesis and growth of a living organism took place over the Internet. The second piece proposed a dialogical exchange between a human being and a robot through two intravenous hookups. The third approached the problem of wet interfaces and human hosting of digital technologies through the implantation of a memory microchip
Jill Walker Rettberg - 15.10.2012 - 14:47
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Videogame: jogos, narrativa e interação no espaço virtual
Videogame: jogos, narrativa e interação no espaço virtual
Luciana Gattass - 17.10.2012 - 17:48
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Techno-historical Limits of the Interface: The Performance of Interactive Narrative Experiences
This thesis takes the position that current analyses of digitally mediated interactive experiences that include narrative elements often lack adequate consideration of the technical and historical contexts of their production.
From this position, this thesis asks the question: how is the reader/player/user's participation in interactive narrative experiences (such as hypertext fiction, interactive fiction, computer games, and electronic art) influenced by the technical and historical limitations of the interface?
In order to investigate this question, this thesis develops a single methodology from relevant media and narrative theory, in order to facilitate a comparative analysis of well known exemplars from distinct categories of digitally mediated experiences. These exemplars are the interactive fiction Adventure, the interactive art work Osmose, the hypertext fiction Afternoon, a story, and the computer/video games Myst, Doom, Half Life and Everquest.
Scott Rettberg - 13.12.2012 - 22:42
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From page to screen: placing hypertext fiction in an historical and contemporary context of print and electronic literary experiments
Only recently has our perception of the computer, now a familiar and ubiquitous element of everyday life, changed from seeing it as a mere tool to regarding it as a medium for creative expression. Computer technologies such as multimedia and hypertext applications have sparked an active critical debate not only about the future of the book format, ("the late age of print" {Bolter} is only one term used to describe the shift away from traditional print media to new forms of electronic communication) but also about the future of literature. Hypertext Fiction is the most prominent of proposed electronic literary forms and strong claims have been made about it: it will radically alter concepts of text, author and reader, enable forms of non-linear writing closer to the associative working of the mind, and make possible reader interaction with the text on a level impossible in printed text. So far the debate that has attempted to put hypertext fiction into a historical perspective has linked it to two developments.
Scott Rettberg - 13.12.2012 - 23:40
