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1. Galatea’s Riposte: The Reception and Receptacle of Interactive Fiction

   When I open the Spatterlight application to access “Galatea,” one of Emily Short’s many fabulous
   pieces of interactive fiction, a supple string of text hails me, flirts with me, and stops just short of
   calling me by name. The more I read, the more I learn about the source of the text itself, Galatea.
   “She” is a simple yet oddly convincing AI, one who is as reactive as she is acted upon, whose words
   emerge in response to my own, and whose short temper has shut down our collective story more
   times than I can count. As startling as her salutations initially seemed and as accustomed to her
   spurning me as I have become, I remain intrigued by Galatea’s overt and shameless invocation of her reader—in this case, me.

   Eric Dean Rasmussen - 14.06.2012 - 16:34

2. Abandoning Canon: Fluid Texts and Implicit Collaboration in Electronic Narratives

   Digital technology enables artists - photographers, musicians, writers, filmmakers, illustrators,
   animators, etc. - to place their work not in a strictly definable where, but effectively everywhere
   (everywhere, that is, where infrastructure and access are available). Where once the lines between
   author, text, and reader could be drawn with linear vectors, digital technology and their increasing
   availability and accessibility bring author, text, and reader into a potentially endless cycle of narrative, creation, wherein the roles are fluid and the text may never be fixed. Because of this capability, Astrid Ensslin argues that the idea of literary canon must depart from "its traditional self-contained, closed, and rigidly exclusive connotations. Instead, an inclusive, open concept has to be adopted, which works in terms of a continuous process of integration, modification and discharge" (2006, n.p).

   (Source: Author's abstract, 2012 ELO Conference site)

   Eric Dean Rasmussen - 21.06.2012 - 13:53