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1. Ouyang Youquan

   Ouyang Youquan, Ph.D. (Arts), Professor and Ph.D. supervisor at the School of Liberal Arts, Central South University. His main research is on theory of literature and art, aesthetics and the cultural industry. His work on online literature and digital culture as well as on the cultural industry has had an extensive influence in China. He has published more than 250 articles in scholarly journals such as Zhongguo Shehui Kexue (中国社会科学), Literary Review (文学评论) and Literature and Art Studies (文艺研究), as well as over ten monographs including The Ontology of Online Literature (网络文学本体论, Beijing: CFLAC Press, 2004), Internet Transmission and Social Culture (网络传播与社会文化, Beijing: Higher Education Press, 2005) and Studies in Literature and Art in the Digital Context (数字化语境中的文艺 学, Beijing: China Social Sciences Press, 2005). 

   (Source: author biography on a 2011 paper published in Social Sciences in China)

   Jill Walker Rettberg - 18.09.2020 - 09:51

2. Michel Hockx

   Michel Hockx is professor of Chinese at SOAS, University of London, and founding director of the SOAS China Institute. He studied Chinese language and literature at Leiden University in The Netherlands and at Liaoning University and Peking University in China. His research looks at modern and contemporary Chinese literary communities and the way they organize themselves, their relation to the state, and the technologies they employ to distribute their work. He is the author of Questions of Style: Literary Societies and Literary Journals in Modern China, 1911–1937 and A Snowy Morning: Eight Chinese Poets on the Road to Modernity.

   (Source: Author biography at publisher's website for his book Internet Literature in China)

   Jill Walker Rettberg - 18.09.2020 - 10:29

3. Bradley Joseph Reina

   Bradley Joseph Reina

   Mads Bratten Myking - 19.09.2020 - 15:06

4. Interactive fiction in the ebook era

   Now that we're all getting comfortable with the notion of reading books on digital displays, it's little surprise that developers are starting to explore the interactive possibilities of electronic novels. In fact, simple interactive fiction has been available on the iPod since the very beginning, with a community of writers using the HTML functionality in the device's Notes application to create "choose your own adventure" stories.

   Since then, the actual Choose Your Own Adventure Company, which now owns the rights to the classic interactive children's novels, has ported a couple of old favourites to iPhone. Meanwhile, Edward Packard, the original author and creator of the CYOA series, has a new brand name, U-Ventures and is adapting and updating many of his old titles for iOS platforms.

   Martin Li - 21.09.2020 - 16:41

5. The joy of text-the fall and rise of interactive fiction.

   he annual Interactive Fiction Competition is an institution that has endured for almost 20 years, with the goal of discovering each year’s best and brightest works in the world of text-based gaming. The genre is surprisingly broad and complex – and this year’s entries show how much text games have to offer modern audiences, even those who don’t ordinarily play computer games.

   The age of free and intuitive creation tools, combined with the explosion of mobile platforms, e-reader devices and an audience that’s comfortable reading screens, means a brand-new opportunity for fresh narrative experiences that stand to attract new types of players.

   Veteran gamers may remember the text-based adventures of history – titles like Adventureland, Zork and Hitchhiker’s Guide to the Galaxy. Arriving in the late 1970s and early 80s, they were taut, forbidding puzzles of logic and language; proceeding the age of graphics on home computers, they made the most of constraints, using brief, carefully chosen prose and a limited list of terse commands to create the experience.

   Martin Li - 21.09.2020 - 16:54

6. Understanding Interactive Fictions as a Continuum: Reciprocity in Experimental Writing, Hypertext Fiction, and Video Games

   This thesis examines key examples of materially experimental writing (B.S. Johnson's The Unfortunates, Marc Saporta's Composition No. 1, and Julio Cortázar's Hopscotch), hypertext fiction (Geoff Ryman's 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these 'interactive' texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly 'infinite' text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing.

   Martin Sunde Eliassen - 22.09.2020 - 19:31

7. Spring 2020 Editors’ Note

   In some ways, the COVID-19 pandemic brought us closer to the mission of The New River, even as it pushed our meetings apart. Since the beginning, The New River has dedicated a platform to emerging and established artists working at the intersection of digital art and literature. Excellent execution has always been one of our top priorities, along with innovative ideas and user-friendly engagement. We aim to challenge passive readership—a symptom of overindulgent screen time and existential Googling. The artists we have selected for the Spring 2020 issue of The New River compliment this vision and complicate the questions “what is art?” and “who is it for?”

   Lucila Mayol Pohl - 08.10.2020 - 11:03

8. A dictionary of the revolution (presentation)

   This is a talk about police. The text is read by Alex from A dictionary of the revolution, a multi-media project that attempted to document the evolving language of the 2011 Egyptian revolution.

   The project's digital publication contains 125 texts, woven from the voices of hundreds of people who were asked to define words used frequently in conversations in public from 2011-2014. Material for the dictionary was collected in Egypt from March to August 2014.

   Nearly 200 participants reacted to vocabulary cards containing 160 terms, talking about what the words meant to them, who they heard using them, and how their meanings had changed since the revolution. The text of the dictionary is woven from transcription of this speech.

   The project's digital publication is accessible in Arabic and English translation at http://qamosalthawra.com. The website also gives access to an archive of edited sound clips, images, and transcriptions.

   Andrés Pardo Rodriguez - 08.10.2020 - 13:26

9. Editor’s Note: Fall 2019

   I reflect on this edition I think about one of the major contemporary political issues of our time that reaches into the past and into the future.

   Nature. The Earth. Climate. The human body. The human soul.

   Lucila Mayol Pohl - 09.10.2020 - 12:08

10. The New River (Fall 2018)

    When you consider that writing as a form hasn’t really changed all that much since The Epic of Gilgamesh, some 4,000 years ago, what’s occurring in the world of new media becomes that much more impressive. Digital writing is already able to do things that authors aspired towards for years; incorporating visuals, music, and sound, as well as interacting directly with audience. In this issue we’ve tried to put forth work that exemplifies the wide range new media is capable of.

    (Source: https://www.cddc.vt.edu/journals/newriver/18Fall/editor.html)

    Lucila Mayol Pohl - 17.10.2020 - 12:18

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