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1. Digital Media

   The chapter takes readers through a semester of teaching narrative-based electronic literature works, including interactive fiction, storyspace hypertexts, web hypertexts, email fiction and interactive web-based narratives.

   Scott Rettberg - 13.01.2011 - 15:24

2. Senghor on the Rocks: A Georeferenced Electronic Novel

   author-submitted abstract: Senghor on the Rocks (SOTR) is the first novel that has been extensively illustrated with the help of online satellite imagery. SOTR was written in the form of a classical novel well before we developed the presented online format for publishing. Because of its linear narrative structure, the consistent first?person perspective of the text and the movement that happens throughout the text, it was very well suited for an adaption as an online "geo?novel" based upon Google Maps. The text of the novel was not changed for the online version, but every scene has been geographically referenced and the chapter structure has been adjusted for online reading habits.

   Eric Dean Rasmussen - 16.02.2011 - 14:50

3. Connecting Memories: Contextualizing Creative Research Practice

   Connecting Memories: Contextualizing Creative Research Practice

   Scott Rettberg - 17.06.2011 - 12:09

4. Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext

   Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext

   Eric Dean Rasmussen - 07.07.2011 - 16:37

5. Wreader's Digest - How To Appreciate Hyperfiction

   Compared to its age - or youth - hyperfiction is a rather well-theorized genre. Hyperfiction-criticism either praises its subject as evolved print-text and better realization of contemporary literary theory - or deplore its - allegedly - low literary quality. What is missing, however, are in-depth readings of digital fiction that deemphasize theory and try to appreciate this new genre for what it has to offer.

   In this "paper", I will read two hyperfictions that are not among the two or three canonized texts that are relatively well-known and often-quoted. Both John McDaid's Uncle Buddy's Phantom Funhouse and Sarah Smith's King of Space deal with central issues of hypertext-theory - in content as well as formally. They are about agency and sense-making, ironically deconstructing mainstream theory's claims that digital, hyperlinked texts activate readers into a de-facto author-position. They are also representations of contemporary life that may be difficult to read at first but also make strangely adequate and enjoyable texts for today's readers. (Source: abstract in journal)

   Jill Walker Rettberg - 16.11.2011 - 12:01

6. Networked Improv Narrative (Netprov) and the Story of Grace Wit & Charm: Rob Wittig's Thesis Defense

   This is a recording of the 20 minutes or so of Rob Wittig's thesis presentation and oral exam for the MA at the University of Bergen, which was done on Tuesday, December 13, 2011 via Skype. Wittig's thesis outlines the genesis of a new network based genre at the interstices of game, improvisational theatre, literature, mass media and digital media. It was also the first MA thesis in the UiB Digital Culture program to include a fully developed creative project in electronic literature as well as an excellent theoretical thesis in print.

   Scott Rettberg - 14.12.2011 - 11:50

7. Technologies That Describe: Data Visualization and Contemporary Fiction

   [insert abstract here]

   (Source: author's abstract)

   Presented on Saturday, 7 January at the 2012 MLA Convention, panel 442, "New Media, New Pedagogies," arragned by the Division of Prose Fiction. Other panelists included John David Zuern, Jay Clayton, and the moderator, Rebecca L. Walkowitz.

   Eric Dean Rasmussen - 19.01.2012 - 10:56

8. image + narrative

   Installed as a double issue of starting in the winter of 96/97, contributors sought to explore through literature a transition already evident in the culture at large, where technology had enabled narratives of all types to undergo transformation by the image.

   The first editors of the thread were Steve Tomasula and Anne Burdick.

   (Source: ebr, thread editors' statement.)

   Eric Dean Rasmussen - 22.03.2012 - 10:24

9. Reading Augmented Spaces and the Dimensions that Define Them

   Most new media work establishes interactivity within a curated installation space: a gallery, a festival, or an area whose purpose is to exhibit art. However, recent experiments in new media narratives have made use of the capabilities of smartphones and tablets to present experiences that are aware of the user’s position in space and
   even their current behavior or object of attention.

   Specifically,augmented reality works set themselves apart by re-contextualizing environments and objects encountered in everyday life, removing the fourth wall and blurring or eliminating an interactive experience's boundaries. This differs markedly from the purism of the imagination tapped by literature, and often even favors more realistic integration, in contrast to stylistic depictions and abstractions used in monitor-based works. Augmented reality’s strength and interest lies in how it embeds a story in an environment, or how it can be used to awaken new awareness of a viewer to their surroundings. This bridges the world of the reader with the diegesis of the narrative, resulting in works that react to the immediacy of the experienced space.

   Eric Dean Rasmussen - 14.06.2012 - 15:13

10. Narrative (Pre)Occupations: Self-Surveillance, Participation, and Public Space

    Under consumer culture, self-surveillance—the act of submitting your own data to corporate interests like Amazon, TiVo or Facebook—becomes a revolutionary gesture of participation (Andrejevic 15)…or so corporate interests would have us believe. With the advent of social media, we now log our own data in the service of multinationals as we
    seemingly embrace the arrival of a technological Big Brother. Several digital media artists, however, have turned the tables or, more exactly, the camera on themselves by using digital media and self-surveillance as a means of creating new digital narratives.

    Eric Dean Rasmussen - 19.06.2012 - 14:21

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