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1. Human Computation in Electronic Literature

   This chapter situates and considers several different facets of human computation in electronic literature and digital art. Electronic literature encompasses works in literary forms that are particular to the computer or the network context. Human computation is examined as an element of the development of collective narratives online, in which different roles are defined in architectures of participation. The form, structure, and common features of notable human-computation based artworks are identified. The human computation processes of collectively written and internet-harvested haiku generators are contrasted with each other to reveal their different models of situating the relationship between computational process and human authorship. Literary meta-critiques of human computation technologies such as Google’s machine reading of Gmail and reCAPTCHA’s use of human language recognition are discussed as electronic literature is positioned in a critical, if symbiotic, relationship to human computation.

   (Source: Author's abstract)

   Scott Rettberg - 22.10.2013 - 14:06

2. Between Text, Video and Performance: Landscape in Pamela Brown’s ‘Ireland Unfree’

   Between Text, Video and Performance: Landscape in Pamela Brown’s ‘Ireland Unfree’

   Anne Karhio - 22.01.2015 - 14:54

3. Early Digital Art and Writing

   Decades before digital art and writing became widely transmitted and accessed online, pioneers in these expressive fields relied predominantly on sponsored exhibitions of their work. Prior to the emergence of the World Wide Web (WWW), computer-based practitioners desiring to share their compositions - and audiences interested in these contemporary developments - depended on a small number of sympathetic museums and galleries that promoted such innovations. In the 1960s and early 1970s, these exhibits tended to unite experiments produced by both digital writers and artists. Gradually, as electronic arts expanded in a way that digital writing would not until the proliferation of personal computing and global networks in the 1990s, subsequent exhibitions in the 1970s and 1980s predominantly featured graphical rather than language-oriented works. The arts, historically familiar with formal shifts in media in ways that literature was not, quickly responded to the calling of computerized machinery; writers more gradually adapted to digital possibilities.

   (Source: Author's introduction)

   Thor Baukhol Madsen - 06.02.2015 - 12:30

4. Gameplay

   An explanation of the concept "gameplay".

   Daniela Ørvik - 29.04.2015 - 16:17

5. Interactive Fiction

   Interactive Fiction

   Daniela Ørvik - 29.04.2015 - 16:25

6. Life History

   Life History

   Daniela Ørvik - 29.04.2015 - 16:38

7. Linking Strategies

   Linking Strategies

   Daniela Ørvik - 29.04.2015 - 16:43

8. Materiality

   Materiality

   Daniela Ørvik - 29.04.2015 - 16:58

9. 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