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1. The Reader as Author as Figure as Text

   The paper takes a short look at the much discussed dismissal of the author in hypertext collaborative writing and discusses the role of authorship in three German collaborative writing projects. The results are: 1. Collaboration sometimes works like collaboration with the 'enemy.' The pleasure of some collaborative writing projects therefore comes not so much from the story itself as from what the text reveals about its authors. 2. The attraction of some collaborative writing project lies in the setting more than in the contributed texts. What fails as Netliterature may get a second chance as Netart. 3. If the program of a collaborative writing project automatically and randomly creates the links and develops the structure of the whole, it takes over the collaboration between authors and their texts. The conclusion is: As the text itself becomes more and more part of a technical setting, and as the program moves more and more into the center, the project of collaborative writing increasingly dismisses the reader. To a user who accidentally stops by and starts to read, the text itself doesn't say all that much.

   Patricia Tomaszek - 14.09.2010 - 12:19

2. Authorship and agency in networked environments

   This text discusses how our understanding of authorship has evolved over the past few decades and how this process is now being effected by developments in network and communications technologies. Situating the discussion in relation to post-structuralist theory, Actor Network Theory and the anthropological work of James Leach the impact of network technologies are considered, with particular attention to the emergence of distributed forms of authorship and models of expanded agency. The work of two artists who engage network and communications technologies in distinct ways is discussed in order to evoke perspectives on emergent forms of authorship and agency. The work of Mez Breeze is considered as evidencing a shift in authorship from the human author to an agency of computability embedded in the formal structures of the language employed in the work, suggesting that the text operates as an automatic generative system that constructs the reader as computational interpreter.

   Simon Biggs - 21.09.2010 - 11:04

3. From Lexias to Remediation: Theories of Hypertext Authorship in the 1990s

   How electronic-writing technologies will affect authorship remains an
   important issue in hypertext theory. Theorists agree that the author’s function
   has changed and will continue to change as writing migrates from the page to
   the screen, but they disagree on the specifics of how print-based and
   hypertext-based authorship differ and whether this digital migration constitutes a radical break from the age of print. Early hypertext
   advocates, writing in the early 1990s, claimed that naviagational features, such
   as hypertextual links, transfer a large degree of textual control from writers
   to readers, thus blurring the distinction between the role of the author and
   that of the reader. More recently, theorists began to dispute the idea that the
   hypertextual reading experience was necessarily more creatively empowering than
   reading a printed book. Exploring the arguments of influential hypertext
   theorists, this paper traces developments in hypertext theory in the United
   States during the 1990s. It describes how poststructuralism has informed
   

   Eric Dean Rasmussen - 11.03.2011 - 12:51

4. Electronic Authorship, Collaboration, Community, and Practice

   Community has been a central focus of my career in the field of electronic literature, particularly in helping to shape and structure the Electronic Literature Organization, a USA-based nonprofit organization central to the field, and more recently as project leader of ELMCIP: Electronic Literature as a Model of Creativity and Innovation and Practice. I consider practical research and artistic community development vital to the creation of a persistent environment that enables network-based creative communities. When creative communities and research communties are not geographically co-located, institutional identities, online publications, directories, and knowledge bases, and in-person conferences, festivals, and events provide for a kind of floating agora that enables creative community to thrive across borders.

   Eric Dean Rasmussen - 08.09.2011 - 16:45

5. Forms of Future

   Forms of Future

   Eric Dean Rasmussen - 01.05.2012 - 09:29

6. Quantum Authoring for "Prom Week": What We Learned Writing Six Thousand Lines of Procedurally-Driven Dialogue

   "Prom Week" is an innovative new social simulation game from the Expressive Intelligence Studio at UC Santa Cruz. Unlike other social games like The Sims, Prom Week's goal (as with its spiritual and technological predecessor, Façade) is to merge rich character specificity with a highly dynamic story space: a playable system with a coherent narrative. When I was brought on board as the lead author a year before release, I had no idea the scale of work I was getting myself into: overseeing a team of (at times) eight writers to create over eight hundred hand-authored scenes tightly integrated with pre- and post-conditions, inline variation, and animation choreography. Each scene had to be specific enough to be narratively satisfying but broad enough to cover as wide a possibility space as possible, putting severe limitations on how dialogue could be written.

   Eric Dean Rasmussen - 22.06.2012 - 16:58

7. Of People Not Machines: Authorship, Copyright and the Computer Programmer

   Authorship of computer programs merits close attention, on one level, because it illustrates what is one of my more general observations about the relationship between ideas of authorship in law and the "digital arts": its complexity. The sphere of "digital arts" is characterised by a multiplicity of creative practices and consequently a diversity of ideas about “authorship”, which resist simplistic conclusions as to what the challenge of the digital should mean for law. At the same time, the status of computer programmers as authors draws attention to what for modern lawyers is likely to be an unexpected and counter-intuitive observation about certain aspects of the relation between digital art and law: far from always a source of challenge, the discourses of authorship in the "digital arts" can also provide the law with assistance. Indeed, as we will see, in humanising technology and exalting the computer programmer as a creative poet, certain discourses of digital art can in fact provide coherence and legitimacy to legal concepts of authorship, rather than challenging them.

   Elisabeth Nesheim - 27.08.2012 - 14:08

8. Reconfiguring the Author: The Virtual Artist in Cyberspace (Keynote Address)

   In this presentation, Mark Amerika will discuss the state of narrative art in online culture. The presentation will highlight issues that concern all artists working on the Internet today including the slippery tensions between text and image, the desire to pioneer new modes of interventionist cultural production and distribution, the problematization of the "individual artist/author as genius" model, and the blurring of the lines between art, entertainment and what the corporate media industry likes to call content.

   Jill Walker Rettberg - 09.10.2012 - 22:05

9. The Distributed Author: Creativity In the Age of Computer Networks

   The Distributed Author: Creativity In the Age of Computer Networks

   Jill Walker Rettberg - 09.10.2012 - 22:50

10. Meta Discourse: An Investigation into Possibilities of Meta-Fictions in the 21st Century

    The old rites of literature are quickly starting to come to a head, and as we move through the 21st century we will find ourselves staring into new modes of expression of literary concepts that we have known only on the printed page for centuries prior. Meta-fiction not only allows for new ways of approaching a narrative but also new ways of approaching literature in general, including electronic literature. Questioning the boundaries between the reader and the writer, the audience and the performer, the characters in the text and the ones reading it, one might say that meta-fiction was one of the first forms of hypertext mediums in which the reader was encouraged to draw on outside influences and information to arrive at the heart of the text. This understanding of meta-fiction, then, makes it an appropriate place to begin an analysis of new modes of discourse and the variability of the messages presented. In such a textually-conscious style of writing, how does the narrative alter according to the mode of presentation while still retaining a questioning and awareness of the literary roots?

    Scott Rettberg - 07.01.2013 - 22:39

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