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1. John Barth

   John Barth

   Eric Dean Rasmussen - 07.07.2011 - 16:28

2. 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

3. Natalie Binczek

   Natalie Binczek

   Jörgen Schäfer - 08.07.2011 - 10:35

4. Beyond the Screen (review)

   Beyond the Screen (review)

   Jörgen Schäfer - 08.07.2011 - 10:46

5. Subject to Change: The Monstrosity of Media in Shelley Jackson's Patchwork Girl; or, A Modern Monster and Other Post-humanist Critiques of the Instrumental

   Subject to Change: The Monstrosity of Media in Shelley Jackson's Patchwork Girl; or, A Modern Monster and Other Post-humanist Critiques of the Instrumental

   Eric Dean Rasmussen - 08.07.2011 - 10:53

6. Sadie Plant

   Sadie Plant

   Eric Dean Rasmussen - 08.07.2011 - 11:12

7. Dali Clocks: Time Dimensions of Hypermedia

   Stephanie Strickland investigates an epistemological shift in web-specific art and literature, from an understanding that is less about structure and more about resonance. (Source: ebr) Artists discussed include: Tom Brigham, Jim Rosenberg, Mary Anne Breeze (mez), Noah Wardrip-Fruin, Lisa Jevbratt, and Edardo Kac.

   Eric Dean Rasmussen - 08.07.2011 - 11:43

8. Laura Goldstein

   Laura Goldstein

   Scott Rettberg - 22.07.2011 - 13:02

9. Curveship: An Interactive Fiction System for Interactive Narrating

   From the publication: Interactive fiction (often called “IF”) is a venerable thread of creative computing that includes Adventure, Zork, and the computer game The Hitchhiker’s Guide to the Galaxy as well as innovative recent work. These programs are usually known as “games,” appropriately, but they can also be rich forms of text-based computer simulation, dialog systems, and examples of computational literary art. Theorists of narrative have long distinguished between the level of underlying content or story (which can usefully be seen as corresponding to the simulated world in interactive fiction) and that of expression or discourse (corresponding to the textual exchange between computer and user). While IF development systems have offered a great deal of power and flexibility to author/programmers by providing a computational model of the fictional world, previous systems have not systematically distinguished between the telling and what is told.

   Patricia Tomaszek - 22.07.2011 - 18:44

10. Third Hand Plays: An Introduction to Electronic Literature

    The first in a series of columns about electronic literature and digital literary art written by Brian Kim Stefans for the SFMOMA's Open Space blog.  Here, Stefans explains the premise behind his column: each installment describes what he dubs one of the "simples" of digital literature, that is, "some element in the deep structure of the text/alogrithm interaction" that the author deploys to produce aesthetic effects. In digital literature, Stefans proposes, these formal elements are akin to poetic features, such as assonance, alliteration, and rhyme, that can be identified as a poem's basic components. Critical terminology provides readers and critics a tool for describing how a work of literature functions, and Stefans' "simples" are intended to enable readers to not only identify techniques used to produce digital literary art but also to better understand how authors deploy these poetic effects meaningfully. (Source: Eric Dean Rasmussen)

    Patricia Tomaszek - 24.07.2011 - 14:55

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