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1. List(en)ing Post

   Raley's essay is a careful and descriptive reading of Hansen and Rubin's interactive installation "Listening Post" paying particular attention to complexities of reading a textual work based on live information feeds contributed by an anonymous crowd, a literary work that is perceived as a live embodied experience in a multisensoral "polyattentive" environment.

   Eric Dean Rasmussen - 31.01.2011 - 12:04

2. Why Digital Literature Has Always Been “Beyond the Screen”

   Andrew Michael Roberts demonstrates that digital literature has always been beyond the screen. In many of the practices and framing ideas of electronic literature, he identifies recurrences of key conceptions of modernism and postmodernism such as literalization, enactment, difference, movement, etc. Nonetheless, as he argues, literature is embracing new forms of expression influenced by the evolving mediatechnological possibilities and the increased involvement of the recipient’s whole body.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 13:02

3. Hors-Categorie: An Embodied, Affective Approach to Interactive Fiction

   The interactive fiction work "Hors-Categorie" stages a virtual encounter between bodies in a hotel room along the Tour de France bicycle race. 

   In the story, the player is confronted with a number of decisions regarding his or her body, which, in the game state exists virtually. Various bodily choices—blood doping, shaving one's legs, peeing in a cup—lead to the generation of affects that alter the game state. My effort in writing this work—concerning doping, cyclists, bodies, and ethics—is to think through the potentialities for engaging, designing, and theorizing new media with an emphasis on the embodied nature of affect. 

   Scott Rettberg - 07.01.2013 - 16:21

4. Growing Intimate With Monsters: Shelley Jackson’s Patchwork Girl and the Gothic Nature of Hypertext

   Described by Robert Coover as “perhaps the true paradigmatic work” of the “golden age” of hypertext literature, Shelley Jackson’s Patchwork Girl (1995) provides not only a rewriting of Mary Shelley’s Frankenstein (1818), but an opportunity to consider the ways in which the gothic as a genre serves to problematize the somatic dimension of our writing technologies. In its capacity to touch the reader directly, at the level of the nerves, tissues, and fibres of the body, Patchwork Girl recalls the debates concerning the affective force of the gothic novel, and, in particular, the threat it was thought to pose for women readers. The gothic, in this sense, emerges as the deep and unsettling recognition that the technological is the formative ground of subjectivity, the very condition of our becoming. What Jackson calls “the banished body,” the monstrous materiality of subjectivity, haunts not only the eighteenth-century faith in the powers of rational powers of intellection, but our own post-human dreams of transcendence.

   Jill Walker Rettberg - 06.07.2013 - 09:27