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1. Cave

   The Cave may be considered as an actual existing epitome of media, that is, “new” and “digital” media. Despite the proliferation of 3D stereo graphics as applied to film fi and games, the experience of immersion is still novel and powerful. Potentially and in theory, the Cave simulates human experience in an artificial fi environment that is socalled virtually real. Moreover, because of its association with computational, programmabledevices, anything— any message or media— can be represented within the Cave in the guise of real-seeming things. Caves could and, in fact, have allowed for the exploration of textual—indeed, literary—phenomena in such artificial fi environments. Caves have been intermittently employed for works of digital art, but uniquely, at Brown University, thanks to the pioneering efforts ff of postmodern novelist Robert Coover, there has been an extended pedagogical and research project of this institution’s Literary Arts Department to investigate, since 2001, the question of what it might mean to write in and for such an environment.

   Sumeya Hassan - 06.05.2015 - 19:51

2. Cell Phone Novel

   Before the ubiquity of iPad, Kindle, and other tablets ushered in a new appreciation of the literary, there was the cell phone novel. Initiated in Japan around 2000, one of the most popular examples of the cell phone novel ( keitai sh ō setsu ), Koizara , was successfully adapted into a multimilliondollar fi film. The success of keitai sh ō setsu can be attributed to a variety of factors: Japan’s cell phone ( keitai ) market, where screens are big; long commutes on public transport; the specific fi characteristics of the Japanese language; and the long tradition of the “personal, pedestrian and portable” (Ito 2005) as part of everyday life. As a medium, it has been embraced by young women, as both readers and writers, for its ability to provide new avenues and contexts for expression around previously tacit practices (e.g., domesticity; Hjorth 2009b).
   Ryan, Marie-Laure, Emerson, Lori, and Robertson, Benjamin J., eds. Johns Hopkins Guide to Digital Media.

   Sumeya Hassan - 06.05.2015 - 20:09

3. Code

   Computer source code is written in a par ticular language, which consists of syntax and semantics. A language’s level is defined fi by how closely tied it is to the computer’s architecture and operation. Some are compiled, others interpreted, and not all languages are lists of instructions or imperatives, for example, functional languages such as Scheme. The “lowest” level languages offer ff the least abstraction from the machine processes, which typically indicates fewer conceptual groupings of processes. In machine languages, for example, instructions go directly to the microprocessor. A highlevel language, such as Java, needs to be compiled, or translated into processor instructions. High-level languages are marked by greater levels of abstraction, and a subset, including BASIC, COBOL , and even SQL , aspire to greater legibility to human readers. Some of the high-level languages, such as Inform 7, which is used to write interactive fiction, a genre of interactive narrative, can accept statements that read like natural language, such as, “The huge green fierce snake is an animal in Mt King” (Crowther and Conley 2011) (see inter active narr ative).

   Sumeya Hassan - 06.05.2015 - 20:16

4. Copyright

   Copyright is a legal sanction that grants monopoly rights to individual or corporate content producers with regard to the use of their productions. Copyright may include a producer’s right to be identifi fied as the author of her work, her right to control that work’s distribution (commercial or otherwise), and her right to restrict the production of works derivative of the original. Generally, any work fixed fi in a tangible form (e.g., a story that is written down or a song that is recorded) is eligible for copyright protection through the positive action of the producer (who files fi for copyright) or by default (as in the United States, where copyright protection accrues automatically upon the production of such a work). Copyright is one branch of intellectual property law, which also includes patent, trademark, and trade secrets law.

   Sumeya Hassan - 06.05.2015 - 20:30

5. Chatterbots

   Depending on their purpose, and what we expect of them, chatterbots are equipped with a more or less complex and elaborate artifi ficial intelligence (AI) (see artificial intelligence). Automated assistants and computer game characters are usually expected to operate within a limited knowledge area. For these to function satisfactorily, it may be suffi fficient that they know how to identify and match key words in the question with a predefined fi answer in their database. However, to fluently converse on a number of nonspecifi fied topics— as is required to pass the Turing test— a more sophisticated AI based in natural language processing may be needed. Some of today’s chatterbots are even designed to learn from their previous conversations—in other words, developing their AI as they speak.

   Sumeya Hassan - 06.05.2015 - 20:38

6. Subversion

   Subversion

   Davin Heckman - 01.09.2015 - 23:16

7. 140 Characters in Search of a Story: Twitterfiction as an Emerging Narrative Form

   The article takes a look into how the app Twitter is used for writing stories, or what can be called "Twitterfiction", and looking at different examples of Twitterficition and how they are tailored to the Twitter format and the audience reading it.

   Chapter can be found in Analyzing digital fiction on page 94-108

   Shanmuga Priya - 06.04.2018 - 08:48

8. Seeing into the Words of Digital Fiction

   Seeing into the Words of Digital Fiction

   Daniel Punday - 13.08.2018 - 20:46

9. Futures of Electronic Literature

   E-lit authors Stephanie Strickland and Marjorie Luesebrink organized a panel on the "Future of E--Lit" at the ELO 2012 conference, allowing emerging and early career authors to articulate institutional and economic, as well more familiar technological, developments that constrain and facilitate current practice. The panel papers were released in ebr in March 2014. Luesebrink and Strickland followed up with comments on the papers, offering a "progress report" on the future of the field. The individual responses are available as glosses on the essays and in full here.

   (Source: Electronic Book Review)

   Daniel Venge Bagge - 20.09.2019 - 19:45

10. Field Notes from the Future of Publishing

    At the Frankfurt Book Fair, Ed Finn and his team attempted to "write, edit, and publish a book in three days." In this essay, Finn explains the process, outcomes, and future considerations of that collaborative experiment in writing, reading, and publishing in parallel and as performance, in the same room at the same time, as he attempts to answer the question, "What is the future of publishing?"

    (Source: Electronic Book Review)

    Daniel Venge Bagge - 20.09.2019 - 19:54

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