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1. 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

2. 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

3. Introduction [to New Narratives: Stories and Storytelling in the Digital Age]

   Editors' introduction to a collection of essays on digital narratology. 

   Eric Dean Rasmussen - 10.05.2012 - 13:26

4. 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

5. 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

6. Quantum Authoring for "Prom Week": What We Learned Writing Six Thousand Lines of Procedurally-Driven Dialogue

   "Prom Week" is an innovative new social simulation game from the Expressive Intelligence Studio at UC Santa Cruz. Unlike other social games like The Sims, Prom Week's goal (as with its spiritual and technological predecessor, Façade) is to merge rich character specificity with a highly dynamic story space: a playable system with a coherent narrative. When I was brought on board as the lead author a year before release, I had no idea the scale of work I was getting myself into: overseeing a team of (at times) eight writers to create over eight hundred hand-authored scenes tightly integrated with pre- and post-conditions, inline variation, and animation choreography. Each scene had to be specific enough to be narratively satisfying but broad enough to cover as wide a possibility space as possible, putting severe limitations on how dialogue could be written.

   Eric Dean Rasmussen - 22.06.2012 - 16:58

7. The Compelling Charm of Numbers: Writing for and thru the Network of Data

   In postmodern times writing is different. With Facebook the personal diary has returned, reformulated for the 21st century. But this is not the diary as we use to know it. Here time gains a persistence and epistemological import and the person or persons recorded shift from being narrator to the quantified subject. This is not only a philosophical or psychological issue but also an economic and political one.

   Elisabeth Nesheim - 27.08.2012 - 13:27

8. Narration, Intrigue, and Reader Positioning in Electronic Narratives

   Argues that we still have very poor language for discussing the place of the reader in electronic—or computer-mediated—narratives, and that little work has been done to evaluate the relevance of core narratological concepts like narrator, narratee, and implied reader as tools to describe the process of reader positioning in electronic narratives. The author sees Aarseth's analysis of interactive fiction in terms of an intrigue, with an intriguee and an intrigant as one of the most sophisticated analyses of the reader's position in electronic writing, and extends this model.

   Jill Walker Rettberg - 16.09.2012 - 20:16

9. Focalization and Digital Fiction

   Focalization and Digital Fiction

   Eric Dean Rasmussen - 24.09.2012 - 07:23

10. The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore

    "The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore", by J. R. Carpenter, reflects upon The Broadside of a Yarn, a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with nought but a QR code reader and a hand-made print map of dubious accuracy. The Broadside of a Yarn was commissioned by ELMCIP for Remediating the Social, an exhibition which took place at Inspace, Edinburgh, 1-17 November 2012. The Broadside of a Yarn remediates the broadside, a form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signified that it was intended to be performed.

    J. R. Carpenter - 16.10.2012 - 14:52

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