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  1. A [S]creed for Digital Fiction

    An international group of digital-fiction scholars proposes a platform of critical principles, seeking to build the foundation for a truly "digital" approach to literary study. Published in ebr's electropoetics thread.

    Eric Dean Rasmussen - 18.02.2011 - 22:31

  2. Expressive Processing: Digital Fictions, Computer Games, and Software Studies

    What matters in understanding digital media? Is looking at the external appearance and audience experience of software enough—or should we look further? In Expressive Processing, Noah Wardrip-Fruin argues that understanding what goes on beneath the surface, the computational processes that make digital media function, is essential.

    Wardrip-Fruin suggests that it is the authors and artists with knowledge of these processes who will use the expressive potential of computation to define the future of fiction and games. He also explores how computational processes themselves express meanings through distinctive designs, histories, and intellectual kinships that may not be visible to audiences.

    Scott Rettberg - 20.05.2011 - 11:26

  3. Focalization and Digital Fiction

    Focalization and Digital Fiction

    Eric Dean Rasmussen - 24.09.2012 - 07:23

  4. Conditions of Presence: The Topology of Network Narratives

    The development of the cultural field of electronic literature faces significant challenges today. As everyday network communication practices and habits of media consumption change, they impose expectations on how narratives are expressed, experienced and interacted with by readers and users. These expectations produce an imperative to accommodate additive and emergent participation processes that influence how narratives are structured. It is increasingly important to strike a balance between authorial agency and user generated content, between the core creative vision of a cultural creator and the contributions of casual participants, between narrative coherence and improvisational interactions. Resolving these antinomies is crucial in order for the field of electronic literature to support both the development of popular digital fiction and a continuing tradition of experimental literature.

    Hannah Ackermans - 11.11.2015 - 16:18

  5. Narrative, Affect and Materialist Aesthetics in Post-Digital Technotexts

    After much excitement about hypertext fiction in the 1990s, many digital-literary-arts practitioners moved away from narrative. There seemed to be a recognition that the hyper-reading digital environments promote was not conducive to long-form narratives. Lev Manovich’s influential The Language of New Media (2002) declared that databases dominated over narrative; narrative was now a residual, if not yet obsolete, epistemological form. But born-digital authors have not entirely abandoned narrative; rather, the narrativity inherent to their artifacts has been diffused, redistributed across non-linguistic modalities. New production technologies make it easier to integrate images, animations, music, sounds, and other modalities into cybertextual artifacts often more akin to video games than novels. In multimodal environments, where textual output is more variable, narrative qualities can appear elusive or ephemeral. Nonetheless, narrativity, like other indicators of literariness, persists in new media writing.

    Hannah Ackermans - 11.11.2015 - 16:26