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Waxweb
"Wax..." was my first feature, executed from 1985-1991 with a variety of arts funding, and a co-production commissioning from ZDF in Germany. The narrative is grotesque, an unresolved and unresolvable tragedy revolving around the perceptual and ethical misperceptions of one Jacob Maker, flight simulation systems programmer, and amateur beekeeper. Half-way between suspense and suspension, the movie moves through space, as the protagonist is translated from his home in Alamogordo out to the Army's Deseret Test facility, and beyond, to caves or the world of the dead, and perhaps even further, if his endless talking voice is to be believed (it should be). Dislocated, disoriented, fragmented, and finally flying, the hero and all those bees and other pictures accompanying him fly backwards and forwards through time. And in a sense the viewer does too.
Scott Rettberg - 19.01.2013 - 01:39
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Ergodic Characters
While much of the attention towards ergodic fiction has been focusing on plot (either dynamic or multiple-path), its characters still lack complexity and expressiveness. In this paper we will explore two different techniques to face this problem.
One major issue in videogames is the lack of personality in user-controlled characters. In other words, the author of a videogame cannot give a deep personality to her character, because the user will be the one who will control it. For example, you cannot design a melancholic, non-violent character, if there is a knife available in the environment. Many users would just take the knife and start a Doom-like game, turning the originally pacifist character into a serial killer. The designer can obviously prevent the user from manipulating harmful objects. However, through this arbitrary rule, users will see their freedom limited. This would also diminish the environment's coherence: why some objects can be manipulated and other cannot?
Scott Rettberg - 19.01.2013 - 13:24
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Inside Blackwell Mansion
"Inside Blackwell Mansion" is a historical-fiction digital narrative based on the life story of Sarah Pardee Winchester, the eccentric "haunted" widow of the heir to the Winchester Repeating Arms fortune. On advice from a psychic, Sarah Winchester built a sprawling mansion in San Jose, California, allegedly to avoid the vengeful spirits of the countless many who had been killed by the Winchester rifle. Building went on continuously for 38 years, without plan, and often without apparent purpose, until her death in 1922. Sarah Winchester's story is especially interesting, because it can be considered on so many different levels: spiritualism, skepticism, mythology, tourism, and feminism.
Scott Rettberg - 19.01.2013 - 14:29
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Narrative Archaeology and the New Narrativology
To reconsider narrative and its relationship to new media one must look at the spatial possibilities and rich subtext already present in the cities and roads away from hypertext and screen specific data forms. The majority of work dealing with gps is emphasizing the leaving of traces, of another layer to enhance. This misses a huge area of potential. The city spaces can now be "read" in all the layers of architecture, ethnography, layers of land usage, and the narratives of people lost in time. Writing can become one of a story space constructed of fictive detail to establish story space AND the details of the steets and buildings themselves and their details (much of which is unkown to most who pass them). Juxtaposition, experiential metaphor, a sense of not V.R with one still in one world in active in another as story space, but active in both. The new writing form creates a new sense of detail and metaphor as well as of process itself, with many exciting new possibilities.
(Source: Author's abstract, Incubation3 conference, trAce Archive)
Scott Rettberg - 19.01.2013 - 23:39
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Bread.Crumbs
"The (scratch) novel CRACKED EGGS AND WASTED TIME is very (very) loosely based in simultaneous (mis)readings of D. H. Lawrence's WOMEN IN LOVE and THE EGYPTIAN BOOK OF THE DEAD, commingled with other additional nonsense..." From the introductory page.
Sissel Hegvik - 23.01.2013 - 20:34
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Slice
Lisa (Slice to her friends) has moved to London with her parents to separate her from 'bad influences'. Coming from the US, Slice is immediately intrigued by the creepy old house they move into. But are her suspicions that the house is haunted well-founded, or is it her teenage over-imagination at work?
Over four days, starting on Tuesday 25th March and ending on Friday, you can follow Slice's story on her own weblog and her parents. If you want to get even more immersed, you can also email the characters and follow them through text messages on Twitter. (Source: We Tell Stories website)
Jill Walker Rettberg - 23.01.2013 - 22:28
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Dressage #7
Claude Maillard and Tibor Papp’s “Dressage no. 7” is glaring example of anthropophagic inflection in early digital poetry. The authors, continuing to use the same language and themes established in previous editions of Alire, cast familiar words and phrases amidst a wider span of new visual contexts. Alternating graphical pages, verbal pages, and pages that incorporate both propel the narrative. Works in Maillard and Papp’s “Dressage” series address the diminishing status of civil liberties in general, inscribing their views in a new media format that revives the aesthetics of an earlier era with new purpose.
(Source: Chris Funkhouser "Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry")
Scott Rettberg - 31.01.2013 - 19:33
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Radiant Copenhagen
A collaborative fictional description of a future Copenhagen told in descriptions of places on a satellite map of Copenhagen. The title is a play upon the PR organisation Wonderful Copenhagen. A bus tour of Copenhagen with readings from the work was organised in March 2009.
Jill Walker Rettberg - 01.02.2013 - 13:40
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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
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Space for writing: a sidelong glance at the history of immersive spatial hypertext
The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.
(Source: Author's abstract for ELO_AI)
Audun Andreassen - 14.03.2013 - 14:42
