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1. A Clash between Game and Narrative

   In this paper presentation I'll be making a simple point. That computer games and narratives are very different phenomena and, as a consequence, any combination of the two, like in "interactive fiction", or "interactive storytelling" faces enormous problems.
   --
   Introduction

   Patricia Tomaszek - 14.09.2010 - 13:08

2. Text as Virtual Reality (Techno-Aesthetics and Web-Literatures)

   Text as Virtual Reality (Techno-Aesthetics and Web-Literatures)

   Jill Walker Rettberg - 12.01.2011 - 23:58

3. Hypertext Fiction in the Twilight Zone

   The first hypertext fictions were written in the early eighties, and the first commercially distributed hypertext fiction was Michael Joyce's Afternoon. A Story. It was published by Eastgate Systems in 1987 - slightly over a decade ago. I would like to take a look at hypertext fiction, its history and present, and try to make some predictions of its future.

   Jill Walker Rettberg - 13.01.2011 - 00:00

4. Patterns of Hypertext

   The apparent unruliness of contemporary hypertexts arises, in part, from our lack of a vocabulary to describe hypertext structures. From observation of a variety of actual hypertexts, we identify a variety of common structural patterns that may prove useful for description, analysis, and perhaps for design of complex hypertexts. These patterns include: Cycle Counterpoint Mirrorworld Tangle Sieve Montage Split/Join Missing Link Feint

   Jill Walker Rettberg - 14.01.2011 - 11:59

5. Hamlet on the Holodeck: The Future of Narrative in Cyberspace

   Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form.

   (Source: Publisher's description)

   Published in paperback by the MIT Press, 1998.

   Jill Walker Rettberg - 14.01.2011 - 12:17

6. Stitch Bitch: the Patchwork Girl

   It has come to my attention that a young woman claiming to be the author of my being has been making appearances under the name of Shelley Jackson. It seems you have even invited her to speak tonight, under the misapprehension that she exists, that she is something besides a parasite, a sort of engorged and loathsome tick hanging off my side. May I say that I find this an extraordinary impertinence, and that if she would like to come forward, we shall soon see who is the author of whom.

   Well? Well?

   Very well.

   I expect there are some of you who still think I am Shelley Jackson, author of a hypertext about an imaginary monster, the patchwork girl Mary Shelley made after her first-born ran amok. No, I am the monster herself, and it is Shelley Jackson who is imaginary, or so it would appear, since she always vanishes when I turn up. You can call me Shelley Shelley if you like, daughter of Mary Shelley, author of the following, entitled: Stitch Bitch: or, Shelley Jackson, that imposter, I'm going to get her.

   Eric Dean Rasmussen - 14.03.2011 - 20:58

7. What is the Point of Compulit?

   A review article of Littérature et informatique. La littérature générée par ordinateur, eds. Alain Vuillemin and Michel Lenoble (Artois Press Université, 1995). (Literature and Informatics. Computer-generated Literature). The discussion of the contributions gathered in this anthology leads to a taxonomy of computer-generated texts based on three main categories: utilitarian (the automated production of texts [such as news summaries] to save human time); cognitive (story-generation conceived as an exploration of creative mechanisms [James Meehan's Tale-Spin]) and aesthetic-experimental (the attempt to produce new literary genres). The experimental category is divided into texts meant to be printed, and texts that exist exclusively in the electronic medium: games, hypertexts, and animated texts ("cyberpoetry"). All of these texts are produced in a collaboration human-machine in which, as Espen Aarseth observes, the computer can play three roles: pre-processor (plot-outline generation), co-processor (dialogue computer-user, such as the ELIZA program), or post-processor (staging and manipulation of texts written by a human). (Source: Author's website)

   Scott Rettberg - 20.05.2011 - 10:30

8. A Poetic Homage -- of the 3-Letter, 3-Word Variety

   A review of mIEKAL aND's "after emmett: a dispersion of ninetiles."

   Scott Rettberg - 23.05.2011 - 14:59

9. 'What Is Seen Depends Upon How Everybody Is Doing Everything': Using Hypertext to Teach Gertrude Stein's Tender Buttons

   'What Is Seen Depends Upon How Everybody Is Doing Everything': Using Hypertext to Teach Gertrude Stein's Tender Buttons

   Dene Grigar - 06.10.2011 - 07:15

10. The New River 4

    The New River 4

    Scott Rettberg - 12.10.2011 - 11:36

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