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1. Involvement, Interruption, and Inevitability: Melancholy as an Aesthetic Principle in Game Narratives

   Although many issues about how we can construct and analyze electronic narrative remain to be settled, it is clear, then, that a central concern will be the ability of these game narratives to create the emotional impact inherent in our involvement in a story. Emotional involvement is especially important for the interactive text because the user must be prompted to act and move through the text to a degree not required by more traditional reading. In this essay, I would like to consider how electronic narratives balance interactivity and emotional force. Doing so means thinking about emotional involvement and its relation to narrative teleology, as well as its tolerance for interruption by everything from writerly asides to interactive play. To investigate this, I will draw not only on hypertext and computer games but also on American metafiction, which I will show confronts the same problems of emotional force within interactive or game-like patterns. (Source: Introduction to the essay)

   Eric Dean Rasmussen - 25.08.2011 - 17:05

2. Tending the Garden Plot: Victory Garden and Operation Enduring....

   A reading of Moulthrop's Victory Garden seen primarily as a war narrative, in the light of the contemporary (to the article) war on Iraq.

   Jill Walker Rettberg - 15.10.2011 - 21:26

3. Literal Art

   John Cayley dadas up the digital, revealing similarities of type across two normally separate, unequal categories: image and text. "Neither lines nor pixels but letters," finally, unite.

   (Source: ebr First Person thread page)

   Eric Dean Rasmussen - 15.02.2012 - 13:15

4. The Frontiers between Digital Literature and Net.art

   My aim is to show how the frontiers between the various disciplinary spheres are disappearing in the digital world. Therefore, to start with, the basic aspects of what is known as digital art are set out and are compared with the concepts of Roland Barthes on the post-modern text. In this way a relationship is established between the discourses on Net.art and digital creation on the Net and theoretical postulates on hypertext and Net.literature. Next the results of this comparative reflection are applied to a visual experience: letting a series of online works speak, grouped together in a particular classification, in order to see whether or not the theoretical model constructed is valid. Finally, I pose questions about this experience by highlighting the implications of the construction of new contexts in real time in the sphere of literary and artistic creation.

   (Source: Author's abstract)

   Alvaro Seica - 22.08.2013 - 11:34

5. Overboard: An Example of Ambient Time-Based Poetics in Digital Art

   overboard by John Cayley, with Giles Perring, is an example of literal art in digital media that demonstrates an 'ambient' time-based poetics. There is a stable text underlying its continuously changing display and this text may occasionally rise to the surface of normal legibility in its entirety. However, overboard is installed as a dynamic linguistic 'wall-hanging,' an ever-moving 'language painting.' As time passes, the text drifts continually in and out of familiar legibility - sinking, rising, and sometimes in part, 'going under' or drowning, then rising to the surface once again. It does this by running a program of simple but carefully designed algorithms which allow letters to be replaced by other letters that are in some way similar to the those of the original text. Word shapes, for example, are largely preserved. In fact, except when 'drowning,' the text is always legible to a reader who is prepared to take time and recover its principles. A willing reader is able to preserve or 'save' the text's legibility.

   (Source: Author's Abstract)

   Alvaro Seica - 06.05.2015 - 22:01

6. Cybertextuality

   Cybertexts are the pairs of utterance-message and feedback-response that pass from speaker-writer to listener-reader, and back, through a channel awash with noise. Cybertextuality is a broad theory of communication that draws on the cybernetics of Norbert Wiener (1894-1964) to describe how we manage these dual message-feedback cybertexts into being and that helps explain the publishing, the transmission, and the reception of all speech and text. Recursiveness, complexity, and homeostasis are three principles of cybertextuality. Because we are cognitively blind to how we create most utterances (language belongs to procedural memory, which can be recalled only by enacting it), we unselfconsciously model even our own language acts (not just ones by other people) simply in order to recognize and revise them. We observe or receive our own language acts before anyone else does. Our feedback is to represent those acts meaningfully. Mental modelling, as a feedback mechanism, is recursive. Our every utterance or output serves as input to another (possibly silent) uttering. Messaging-feedback is also complex.

   Alvaro Seica - 11.03.2016 - 15:10