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1. A Clash between Game and Narrative

   In this paper presentation I'll be making a simple point. That computer games and narratives are very different phenomena and, as a consequence, any combination of the two, like in "interactive fiction", or "interactive storytelling" faces enormous problems.
   --
   Introduction

   Patricia Tomaszek - 14.09.2010 - 13:08

2. The International Interactive Fiction Community

   In this talk, I describe some details of how these communities have functioned over the years: What forums, chat systems, publications, competitions, directories, archives, and other sorts of institutions and traditions are used to build new aesthetic appreciations of IF, to enable people to learn more about programming, design, and writing, and to to connect IF authors and players. My analysis, which draws on my experience as a member of “the IF community” while also considering online artifacts and discourses could be helpful in other electronic literature communities. It will also consider how existing community activity could help to connect IF more effictively with poets, fiction writers, artists, and and others who work in creative computing.

   Patricia Tomaszek - 15.10.2010 - 16:51

3. 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

4. Computing Language and Poetry

   [Insert author's abstract here.]

   Montfort introduced a new critical term, stanzory, which refers to "a unit of lines in a poem that is also a narrative with some sort of point."

   Presented at the 2012 MLA Convention as part of the "730. New Media Narratives and Old Prose Fiction" panel, arranged by the Division on Prose Fiction. Other panelists included Dene Grigar and Joseph Tabbi. The moderator, filling in for Amy Elias, was Heather M. Houser.

   Eric Dean Rasmussen - 17.01.2012 - 15:45

5. Forms of Future

   Forms of Future

   Eric Dean Rasmussen - 01.05.2012 - 09:29

6. Carrying across Language and Code

   With reference to electronic literature translation projects in which we have been involved as translators or as authors of the source work, we argue that the process of translation can expose how language and computation interrelate in electronic literature.

   Eric Dean Rasmussen - 12.06.2012 - 16:36

7. 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

8. 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

9. 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

10. 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

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