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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. The Presumed Literariness of Digital

   This presentation will challenge the current, too quickly determined relationship between
   the ‘literary’ and digital media. The presumed literariness of digital art--these days, anything
   from performance art to virtual sculpture work--muddles the already confused and meandering
   genre of electronic literature, leading away from acts of reading and remarking on text and its location in new media. Electronic literature began as a study of literary writing produced and
   meant to be read on a computer screen, opening up new possibilities for interactive and dynamic
   storytelling, utilizing the new medium’s ability for linking lexias. The literariness of this work
   is manifest: the work was primarily textual, the centrality of reading paramount. Textuality was
   at the heart of the work, thus the term electronic literature was appropriate and uncontested.
   Lately, ‘electronic literature’ is an umbrella-term for all things digital. A spectrum of genres
   and forms are included, among them video games, interactive fiction, digital art, and (virtual)
   

   Eric Dean Rasmussen - 19.06.2012 - 14:41

3. From Reality to Interactive Fiction and the Way Back

   From Reality to Interactive Fiction and the Way Back

   Eric Dean Rasmussen - 22.06.2012 - 16:44

4. Shakespeare in Simlish? Responsive Systems and Literary Language

   There is a moment that can happen when reading/playing an interactive fiction. The system just presented some text, perhaps quite engaging or even beautiful. And then one tries to reply, using some of the same language, only to receive an error. The underlying system doesn't can't hear the language with which it speaks. The language it displays is written ahead of time, while the language it receives must be parsed and acted upon at runtime.

   There is something uneasy about this disjuncture, and one response is to try to avoid all such problems. Will Wright's Sims speak only in gibberish sounds and visual icons, so that the surface representation of language matches the very simple internal representation of what they can discuss. Chris Crawford currently plans for his new storytelling system to avoid the construction of English-like sentences found in Storytron — instead moving to an icon language intended to help players better understand the internal representations (much more complex than those in The Sims) on which his story system will operate.

   Eric Dean Rasmussen - 22.06.2012 - 16:55