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1. The Machine in the Text, and the Text in the Machine

   "The Machine in the Text, and the Text in the Machine" is a review essay on Electronic Literature: New Horizons for the Literary (Notre Dame, IN: University of Notre Dame, 2008), by N. Katherine Hayles, and Mechanisms: New Media and the Forensic Imagination (Cambridge, Mass.: MIT Press, 2008), by Matthew G. Kirschenbaum. Both works make remarkable contributions for the emerging field of digital literary studies and for the theory of digital media. While Hayles analyses the interaction between humans and computing machines as embodied in electronic works, Kirschenbaum conceptualizes digitality at the level of inscription and establishes a social text rationale for electronic objects.

   (Source: DHQ)

   Eric Dean Rasmussen - 13.09.2011 - 14:23

2. The Significance of Navigation and Interactivity Design for Readers’ Responses to Interactive Narrative

   Interactive (or 'hypertext') fiction is a significant new art form because of the highly innovative narrative structures and delivery platforms it embraces, and yet in many extant examples the narrative and the delivery platform, the interface, are not happily wedded. This 'mis-match' can lead to negative experiences for readers. This paper discusses the style and usability of the interface, aiming to offer some guidance to writers. As well as considering the relevant literature, I refer to data from my empirical study of readers' responses to a range of interactive (hypertext) fiction, as supporting evidence for the conclusions offered. I argue that the design of the interface and its navigation systems are of absolutely crucial significance for readers' engagement and absorption with the narrative.

   Patricia Tomaszek - 22.09.2011 - 17:47

3. Strange Rain and the Poetics of Motion and Touch

   Mark Sample provides a close-reading of one work that takes advantage of the “interface free” multitouch display: released in the last year, “Strange Rain” is an experiment in digital storytelling for Apple iOS devices (the iPhone, iPod Touch, and iPad) designed by new media artist Erik Loyer.

   Eric Dean Rasmussen - 05.10.2011 - 09:56

4. Seven Types of Interface in the Electronic Literature Collection Volume Two

   Seven Types of Interface in the Electronic Literature Collection Volume Two

   Eric Dean Rasmussen - 05.10.2011 - 10:16

5. The Effects of Software on the Digital Creative Process

   The Effects of Software on the Digital Creative Process

   Scott Rettberg - 06.10.2011 - 14:09

6. Third Hand Plays: "Scrape Scraperteeth" by Jason Nelson

   Third Hand Plays: "Scrape Scraperteeth" by Jason Nelson

   Eric Dean Rasmussen - 21.10.2011 - 10:27

7. Wreader's Digest - How To Appreciate Hyperfiction

   Compared to its age - or youth - hyperfiction is a rather well-theorized genre. Hyperfiction-criticism either praises its subject as evolved print-text and better realization of contemporary literary theory - or deplore its - allegedly - low literary quality. What is missing, however, are in-depth readings of digital fiction that deemphasize theory and try to appreciate this new genre for what it has to offer.

   In this "paper", I will read two hyperfictions that are not among the two or three canonized texts that are relatively well-known and often-quoted. Both John McDaid's Uncle Buddy's Phantom Funhouse and Sarah Smith's King of Space deal with central issues of hypertext-theory - in content as well as formally. They are about agency and sense-making, ironically deconstructing mainstream theory's claims that digital, hyperlinked texts activate readers into a de-facto author-position. They are also representations of contemporary life that may be difficult to read at first but also make strangely adequate and enjoyable texts for today's readers. (Source: abstract in journal)

   Jill Walker Rettberg - 16.11.2011 - 12:01

8. Riddles of the Interface: Hieroglyphic Consciousness and New Experimental Multimedia

   A discussion of Reginald Woolery's CDROM World Wide Web/Million Man March (1997) and other experimental CDROMs in the context of modernist ideas of the hieroglyph, interface aesthetics, and afrofuturism.

   Joe Milutis - 21.01.2012 - 17:04

9. Handholding, Remixing, and the Instant Replay: New Narratives in a Postnarrative World

   Handholding, Remixing, and the Instant Replay: New Narratives in a Postnarrative World

   Scott Rettberg - 03.02.2012 - 15:34

10. P.o.E.M.M.

    A compilation of broken poems, P.o.E.M.M. Poems for Excitable [Mobile] Media is designed explicitly for mobile media. The poems cannot be read without touching the screen, an experience that creates excitable stimulation. The letters and words of the poems float in the background, waiting for the user to snatch them up with their fingers. One line at a time, the user can grab the words and align them on the screen. The lines can be arranged in any order, and so the user must piece together both their meaning and the structure. Lewis and Nadeau built the interface filled by these works and poets: “What They Speak When They Speak to Me” by Jason E. Lewis, “Character” by Jim Andrews, “Let Me Tell You What Happened This Week” by David Jhave Johnston, “Muddy Mouth” by JR Carpenter, “The Color of Your Hair Is Dangerous” by Aya Karpinska. Annotated by Greg Philbrook.

    (Source: Description from the Electronic Literature Exhibition catalogue)

    Meri Alexandra Raita - 05.02.2012 - 16:22

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