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1. Conclusion: Whither American Fiction?

   Conclusion: Whither American Fiction?

   Eric Dean Rasmussen - 30.10.2012 - 22:14

2. Creating Interactive Fiction with Inform 7

   CREATING INTERACTIVE FICTION WITH INFORM 7 is a jargon-free, step-by-step guide to mastering the basics of creating dynamic, text-based story worlds. Inform 7 is a free multiplatform interactive fiction authoring environment that uses an intuitive natural language syntax. A tool focused on writers, not programmers, Inform allows users construct complex, rich storytelling worlds by writing sentences as simple as "Tom is a person," or as complicated as "Instead of attacking Tom when something lethal is held, now every nearby watchdog owned by Tom hates the player." No prior programming experience is required. Throughout the book, readers develop a full-length, release-quality example game, exploring the real-world issues involved in authoring participatory narratives and gaining skills that can be applied to the creation of future games and stories.

   (Publisher's copy)

   Scott Rettberg - 09.01.2013 - 00:14

3. Modes of Narrative Specific to AI (Interview with Jichen Zhu)

   Jichen Zhu explores narrative using artificial intelligence to explore subjective fluid aspects of human emotional experience. Her research is informed by cognitive science research into analogy (extending foundations associated with Michael Mateas, Noah Warddrip-Fruin & Fox Harrell).

   Jichen's aim is to explore the expressive potential of algorithms as aids to the constructions of narrative; in her view, algorithms do not necessarily replace human writers, but augment expressivity. She is working toward the possibility of AI narrative engines which develop stories unique to the architecture of computation. This provocative possibility is not easily implemented, yet operates as a lure, instigating research into modes of creativity inherently different from human authorial intent.

   (Source: David Jhave Johnston)

   Scott Rettberg - 12.02.2013 - 14:10

4. Constructs of the Interactive Documentary Image in Inside/Outside, The Unknown Territories Project, and Estuary

   This paper introduces three original works that use features of interactive documentary arts to explore social constructions of places and their attending narratives. The three interactive projects that are introduced are Inside/Outside, The Unknown Territories Project, and Estuary. The paper asks how tools of layering, compositing and navigation through documentary imagery in photography and film contribute to an understanding of the connection between social relationships and a sense of space.

   Scott Rettberg - 24.06.2013 - 16:32

5. Netprov: Elements of an Emerging Form

   While improvisational theater has a well-documented history, the role of improvisation on the Internet has been only the topic of passing speculation (Laurel; Murray), either applied metaphorically to the user interface or in speculation on the nature of computer-mediated textual exchange particularly in the context of identity formation (Turkle). While improvisation is deeply connected to the authorial practices of players of MMORPGs and their MOO precursors (LaFarge) and to players of story-generation games such as Jason Rohrer’s “Sleep is Death” and to participants in ARGs, we are specifically interested in text-centered improvisation that has as its goal the creation of a narrative or narrative world, rather than primarily the development of a game experience.

   Scott Rettberg - 25.06.2013 - 14:30

6. Tangibles and Storytelling

   Tangible User Interfaces (TUI) are systems with the goal of giving a physical aspect to accessing information from a digital medium. Combining physical interactions with digital information in order to evoke a sense of interactivity and control over a system. Coupled with storytelling, these user interfaces become potent information relays, as well as being effective edutainment tools for younger audiences. This is because of physical interactions are extremely significant in providing stimuli for the memory, thus facilitating learning.

   In this paper, we discuss and evaluate several different research papers about various different tangible user interfaces designed to facilitate interactive narratives and storytelling. These systems provide insight to the dynamics of interactive storytelling, and how these tangibles can be used to deliver non-linear storylines and detach the users from the role of a passive observer to an active role in the stories.

   Jill Walker Rettberg - 02.07.2013 - 16:08

7. Writing at the Limit: The Novel in the New Media Ecology

   While some cultural critics are pronouncing the death of the novel, a whole generation of novelists have turned to other media with curiosity rather than fear. These novelists are not simply incorporating references to other media into their work for the sake of verisimilitude, they are also engaging precisely such media as a way of talking about what it means to write and read narrative in a society filled with stories told outside the print medium. By examining how some of our best fiction writers have taken up the challenge of film, television, video games, and hypertext, Daniel Punday offers an enlightening look into the current status of such fundamental narrative concepts as character, plot, and setting. He considers well-known postmodernists like Thomas Pynchon and Robert Coover, more-accessible authors like Maxine Hong Kingston and Oscar Hijuelos, and unjustly overlooked writers like Susan Daitch and Kenneth Gangemi, and asks how their works investigate the nature and limits of print as a medium for storytelling.

   J. R. Carpenter - 08.07.2013 - 12:20

8. Between Floors: The Ups and Downs of Mediated Narrative

   “Between Floors: The Ups and Downs of Mediated Narrative” and the accompanying creative remediation project, “Between Floors: Love and Other Blood Related Diseases,” meld theory and practice of print with electronic literature and installation art. I argue that as the medium changes, the narrative is transformed. The narrative can be reconstructed and pieced together as the reader or viewer becomes increasingly involved, even embodied within the work. This embodiment is what Nathaniel Stern calls “Moving and thinking and feeling” (1) and can result in a more direct emotional experience. The form, structure, and medium (sjužet) rely on authorial intention, yet as a narrative becomes more interactive and experiential the feedback loop shifts, placing meaning, message, and construction of narrative (fabula) between media and reader/viewer. This necessarily complicates the notion of authorship, yet within an embodied space, such as the installations included in this analysis, there is a potential for greater emotional understanding between author/artist and reader/viewer.

   Melinda White - 31.05.2014 - 16:17

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