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1. Riposte to "A [S]creed for Digital Fiction"

   Kate Pullinger thinks the Digital Fiction International Network is too hasty in dismissing e-books as "paper-under-glass texts."

   Eric Dean Rasmussen - 18.02.2011 - 22:33

2. Interview with Andy Campbell: “Digital Fiction and Interactive Fiction”

   Interview with Andy Campbell: “Digital Fiction and Interactive Fiction”

   Fabio De Vivo - 22.10.2011 - 11:14

3. Process-Intensive Fiction

   Unlike digital poetry, which has pursued process-intensive directions throughout its history, the dominant directions of digital fiction make relatively light use of computational processes. Whether one looks at the traditions of hypertext fiction, interactive fiction, or video games, the primary model is a set of connections (traveled in different manners) between largely static chunks of language. This panel explores a set of alternatives to this model. The suggested potential panelists include the author of the first book on this topic, published in 2009 (Wardrip-Fruin); one of the authors of Facade, the first fully realized interactive drama (Mateas); the creator of Curveship, a new interactive fiction tool that introduces discourse-level variation as a first-class parameter (Montfort); a prominent author, commentator, and tool builder (Short); the author of Blue Lacunae, a vast, highly variable interactive fiction (Reed); the creator of new algorithms for literary variability based on conceptual blending (Harrell); and the author of the mainstream game industry's most ambitious project in this space, Far Cry 2 (Redding).

   Audun Andreassen - 10.04.2013 - 13:39

4. Písanie v interaktívnych médiách. Digitálna fikcia /Writing in the Interactive Media. Digital Fiction

   The subject of the thesis is to introduce and contextualise the possibilities of writing in the interactive media as well as to study the literary art of interactive media in the Anglophone area. One of the attributes of the contemporary art pieces of interactive media is their intermedial character; the authors often link text, image and sound to introduce the fictional world. The aim of the thesis is on one hand to refer to the questions that are not new but have appeared in new circumstances due to the digital format and internet and on the other hand to refer to the questions typical for the digital fiction research. The research concentrates on the digital fiction – a digital piece written in a computer programme, in which the author offers a fictional world. The thesis addresses several aspects of digital fiction, whose combination indicates its characteristic status within the group of digital art – fragmentarity of narrative, multilinearity, interactivity, performativity, dynamics, intermediality and the principles of game and play.

   Zuzana Husarova - 28.06.2013 - 14:46

5. Conditions of Presence: The Topology of Network Narratives

   The development of the cultural field of electronic literature faces significant challenges today. As everyday network communication practices and habits of media consumption change, they impose expectations on how narratives are expressed, experienced and interacted with by readers and users. These expectations produce an imperative to accommodate additive and emergent participation processes that influence how narratives are structured. It is increasingly important to strike a balance between authorial agency and user generated content, between the core creative vision of a cultural creator and the contributions of casual participants, between narrative coherence and improvisational interactions. Resolving these antinomies is crucial in order for the field of electronic literature to support both the development of popular digital fiction and a continuing tradition of experimental literature.

   Hannah Ackermans - 11.11.2015 - 16:18

6. Narrative, Affect and Materialist Aesthetics in Post-Digital Technotexts

   After much excitement about hypertext fiction in the 1990s, many digital-literary-arts practitioners moved away from narrative. There seemed to be a recognition that the hyper-reading digital environments promote was not conducive to long-form narratives. Lev Manovich’s influential The Language of New Media (2002) declared that databases dominated over narrative; narrative was now a residual, if not yet obsolete, epistemological form. But born-digital authors have not entirely abandoned narrative; rather, the narrativity inherent to their artifacts has been diffused, redistributed across non-linguistic modalities. New production technologies make it easier to integrate images, animations, music, sounds, and other modalities into cybertextual artifacts often more akin to video games than novels. In multimodal environments, where textual output is more variable, narrative qualities can appear elusive or ephemeral. Nonetheless, narrativity, like other indicators of literariness, persists in new media writing.

   Hannah Ackermans - 11.11.2015 - 16:26

7. Running Out of Time: The Strategies of Ending in Digital Fictions

   Ever since the early theorizing of electronic literature, both the beginning and ending of these literary works has been seen as problematic issues. In the spirit of Umberto Eco’s “open work” (in English 1989), especially hypertext works were considered challenging to the closed nature of literary work – there may be several entrances to the work, but even more importantly, there is no fixed ending but rather, alternative, optional exit points. J. Yellowlees Douglas’s The End of Books or Books without End, a cornerstone in this field, provided a detailed analysis of M. Joyce’s Afternoon, putting much emphasis on its various endings.

   If the early 1990’s theoretical discussion was mainly concerned with hypertext, the current electronic literature scene with its dozens of new modes of expression, technologies and genres, has grown used to the fact that most of the works do not offer a definite ending, but either a set of alternative endings, or, no obvious ending at all. The openness of dynamic ergodic literature has become such a naturalized phenomenon that there has not been much theoretical interest in the question of ending in electronic literature lately.

   Hannah Ackermans - 16.11.2015 - 11:05

8. Exploring digital fiction as a tool for teenage body image bibliotherapy

   This article reflects on the findings of the interdisciplinary 'TransForm' project, which ran between 2012 and 2014 and aimed to explore how reading and writing digital fictions might support young women in developing frameworks for more positive thinking regarding their body image. The project comprised the following stages: (1) a review and compilation of digital fictions thematizing and/or problematizing female corporeality; (2) a series of cooperative inquiries with three groups of young women (aged 16-19 years) over a period of five weeks, examining participants’ responses to a selection of the previously compiled digital fictions, as well as the challenges these young women face in relation to body image; and (3) an interventionist summer school in which participants aged 16-19 explored body image issues via writing digital fictions. This article reports on the main observations and findings of each stage, and draws conclusions for future research needs in this area. 

   Astrid Ensslin - 05.06.2018 - 23:50

9. Virtual Reality Literature: Examples and Potentials

   Important piece by @MezBreezeDesign on @TheWritPlatform about creating #elit and #digitalfiction in the #VR space.

   - Kate Pullinger

   mez breeze - 11.08.2018 - 23:43

10. Critical examination of concepts relating to canon, preservation, and access

    Astrid Ensslin (University of Alberta), offers a critical examination of concepts relating to canon, preservation, and access. Adopting an essentially critical outlook on canonization as a process of scholarly and social elitization, she argues that material (financial, geographic, and technological) access has always been a discriminating, regulatory factor in canon development, even if we assume a dynamic concept of canon (Ensslin 2007) or a crowdsourcing, emergent approach (Rettberg 2013) that align with contemporary, fast changing technological developments. Ensslin’s paper focuses on the ​Eastgate Quarterly Review of Hypertext ​(​EQRH​), published in two volumes between 1994 and 1995, which has been largely neglected by digital fiction scholarship, mainly because of incompatibility and obsolescence issues.

    Akvile Sinkeviciute - 29.08.2018 - 15:25

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