Search
The search found 87 results in 0.014 seconds.
Search results
-
Cibercultura e divisão social do trabalho intelectual no Brasil: em nome da consolidação institucional nacional de um novo campo interdisciplinar de estudos Contribuição à memória da fundação da ABCiber
Opening speech for the 2nd National Symposium of ABCiber – Brazilian Association of Cyberculture Researchers (PUC-SP, 10-13 Nov 2008), intended as a memory of the intellectual and institutional context of the articles compiled in this work. The article discusses the advances achieved in relation to the data presented in the opening speech of the previous Symposium (PUC-SP, 25-29 Sep 2006), upon the foundation of ABCiber, especially insofar as it refers to the collective work of progressive construction of the field of studies about the relationships between digital technologies/networks, their modalities of collective and individual appropriation, and the social, cultural, political, and economic organization of contemporary transnational capitalism.
Luciana Gattass - 06.11.2012 - 21:40
-
A gramatura do tempo [intertexto a-textualidade]
A gramatura do tempo [intertexto a-textualidade]
Luciana Gattass - 15.11.2012 - 15:34
-
A Preliminary Poetics for Interactive Drama and Games
Interactive drama has been discussed for a number of years as a new AI-based interactive experience (Laurel 1986; Bates 1992). While there has been substantial technical progress in building believable agents (Bates, Loyall, and Reilly 1992; Blumberg 1996, Hayes-Roth, van Gent, and Huber 1996), and some technical progress in interactive plot (Weyhrauch 1997), no work has yet been completed that combines plot and character into a full-fledged dramatic experience. The game industry has been producing plot-based interactive experiences (adventure games) since the beginning of the industry, but only a few of them (such as The Last Express) begin to approach the status of interactive drama. Part of the difficulty in achieving interactive drama is due to the lack of a theoretical framework guiding the exploration of the technological and design issues surrounding interactive drama. This paper proposes a theory of interactive drama based on Aristotle's dramatic theory, but modified to address the interactivity added by player agency.
Scott Rettberg - 25.06.2013 - 14:39
-
Hypertexte et fiction: la question du lien
La première caractéristique de l'entreprise de numérisation à l'oeuvre dans les arts et les lettres est la dématérialisation de leurs supports spécifiques. Dans le cas de la littérature, cette dématérialisation conduit à une rupture avec notre culture du livre qui va au-delà d'un simple changement de support. Nos modes de pensée et nos formes de mise en discours sont, en effet, si intimement liées au livre que son effacement programmé dans l'univers du numérique produit un ébranlement qui n'est pas seulement technologique mais aussi intellectuel et épistémologique. Pour le dire brièvement, le livre, de par sa nature propre, est fondé d'abord sur la succession des pages et secondairement sur une organisation hiérarchisée de sa matière rendue possible par la mise en place progressive d'outils destinés à en faciliter la consultation tels que la division en chapitres ou la table des matières. Ces deux caractéristiques essentielles que sont la linéarité des pages et la hiérarchisation des contenus ont contribué à modeler durablement notre habitus discursif et rhétorique. Avec l'hypertexte, elles sont toutes les deux remises en question.
Scott Rettberg - 28.06.2013 - 20:20
-
No War Machine
No War Machine
Scott Rettberg - 29.06.2013 - 20:04
-
Curating Ambiguity: The Electronic Literature Collection, Volume One
Interview about the Electronic Literature Collection, Volume 1.
Scott Rettberg - 08.07.2013 - 20:57
-
Genre Trouble: Narrativism and the Art of Simulation
Currently in game and digital culture studies, a controversy rages over the relevance of narratology for game aesthetics. One side argues that computer games are media for telling stories, while the opposing side claims that stories and games are different structures that are in effect doing opposite things. One crucial aspect of this debate is whether games can be said to be "texts," and thereby subject to a textual-hermeneutic approach. Here we find the political question of genre at play: the fight over the games' generic categorization is a fight for academic influence over what is perhaps the dominant contemporary form of cultural expression. After forty years of fairly quiet evolution, the cultural genre of computer games is finally recognized as a large-scale social and aesthetic phenomenon to be taken seriously. In the last few years, games have gone from media non grata to a recognized field of great scholarly potential, a place for academic expansion and recognition.
Scott Rettberg - 09.07.2013 - 00:24
-
An Evolving Apparatus
Language, in all its forms, is a key technology in defining the human. What would we be without language? Would we exist in the sense we apprehend ourselves? Could we reflect upon our existence in a structured manner, differentiating ourselves, others and things? Could we know what our urges and feelings might mean? Would we have a recognisable culture and exist in what we can identify as a society? As McLuhan proposed, language has extended the human and facilitated our evolution. We are profoundly as much a product of language as it is a product of us.
The computer has changed language as profoundly as writing and printing before it. As a symbolic machine, a system of signs that reflexively operates upon and modifies itself, both carrying and making meaning, the computer represents a new linguistic modality. We have rapidly adopted the computer as personal companions, as extensions of ourselves. Many of us are soft-wired into the machine and the possibility of hard-wiring is being explored by artists and scientists. The computer, as a language system, has become part of us and we have become part of it.
Simon Biggs - 29.07.2013 - 16:10
-
Collaborative Narrative
Brief entry on collaborative narrative situating collaboration in hypertext and online writing contexts.
Collaboratively written narratives are not specific to new media: a number of works within the Western cultural and literary canon, for example the epics of Homer, the Judeo-Christian Bible, and Beowulf, are believed to have been developed through collaborative storytelling and writing processes. It can however be said that collaborative writing practices are more prevalent in contemporary digital media than in print.
Electronic literature authors most often write within software platforms that are themselves “authored”—every time someone opens up Photoshop, or Flash, they are reminded of the long list of developers who actually wrote the software. So even making use of a particular application is a type of collaboration. There is a greater degree of transparency to the collective efforts involved in digital media production than to traditional literary production.
(Source: Author's introduction)
Scott Rettberg - 01.11.2013 - 11:53
-
Make or Break? Concerning the Value of Redundancy as a Creative Strategy
There is a contradiction at the heart of digital art making, regarding its temporal mediality and relationship with a mainstream visual arts practice that values permanence. Why do we wish to preserve something temporal and fleeting? Will the preservation of digital works contribute to a process of commodification that many media artists have sought to avoid by embracing the ephemeral nature of digital media? Are there reasons that would justify preserving digital works of art when, for some artists, redundancy is a key principle in their practice?
(Source: Author's introduction)
Scott Rettberg - 04.11.2013 - 11:56
