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1. Unique-Reading Poems: A Multimedia Generator

   Unique-Reading Poems: A Multimedia Generator

   Scott Rettberg - 25.08.2012 - 23:23

2. Spatial Remediations

   This paper "Spatial Remediations: Navigating the social constructs of the interactive documentary image in Inside/Outside, The Unknown Territories Project, and Estuary" introduces three original works that use features of interactive documentary arts to explore social constructions of places and their attending narratives. The three interactive projects that are introduced are Inside/Outside, The Unknown Territories Project, and Estuary. The paper asks how tools of layering, compositing and navigation through documentary imagery in photography and film contribute to an understanding of the connection between social relationships and a sense of space.

   Elisabeth Nesheim - 27.08.2012 - 14:54

3. The Problem of Form: Transitoire Observable, a Laboratory for Emergent Programmed Art

   I will present some conceptions of programmed art focused on the problem of form. I will not explain here the different approaches but only open the question in the perspective of the procedural model. I will start from the basic common point of view of the collective Transitoire Observable and, after an overview of some aspects of the procedural model, I will pose the question of form as a specific management in the programming of arbitrary aesthetic constraints that are posed by the author in his management of the situation of communication created by the work whatever the surface aesthetics is on screen. In this sense, we will speak of “programmed forms” as forms in programming and not as forms of the programmed multimedia event.

   Source: author's abstract in book publication

   Kristine Turøy - 28.08.2012 - 11:38

4. Code, Cod, Ode: Poetic Language & Programming

   Mutation or modulation of words manifest orthographic relations between variants but also sometimes suggest more elusive relations. Much importance can be seen in the specificity of language, especially considering the sum of variations of a single word in different languages. The word itself is a solid object at the center of such a set of permutations. The meaning of a sum of such variants can be likened to an array in programming. An array object can be greater than the sum of its parts, a concept that ties into Cubism as well as to poetry where languages mix. Other array poetry suggests geometric structure; this is poetry that creates meaning from empty space as much as from its solid textual areas. This is similar to the way that architecture creates meaning from empty spaces, as seen notably in uses of the arch. The structural strength of empty space can also be seen in a number of postmodern poems, where such space is integral to their expressiveness. These poems also use array concepts to inform the poem. It is useful to look at examples of code in my own work, which uses arrays and empty space as solid material in strings.

   Stig Andreassen - 28.08.2012 - 18:13

5. Principles and Processes of Generative Literature

   Generative literature, defined as the production of continuously changing literary texts
   by means of a specific dictionary, some set of rules and the use of algorithms, is a very
   specific form of digital literature which is completely changing most of the concepts of
   classical literature. Texts being produced by a computer and not written by an author
   require indeed a very special way of engrammation and, in consequence, also point to
   a specific way of reading, particularly concerning all the aspects of the literary time. In
   my paper, I will try to present some of the characteristics of generative texts and their
   consequences for the conception of literature itself.
   I call “engrammation” the adaptation of choices of expression to the technical constraints
   of the medium used for its mediatization. For instance, a book needs a fixed writing,
   and the mediatization by means of a screen needs other modalities of presentation.

   Source: author's abstract

   Kjetil Buer - 31.08.2012 - 11:15

6. Narrative and the Split Condition of Digital Textuality

   With computer games and avant-garde literary experiments, digital textuality has conquered
   both mass audiences and academic readers interested in theorizing digital art, but
   it has not yet reached the middle of the cultural spectrum, namely the educated public
   who reads primarily for pleasure, but is capable of artistic discrimination. This essay
   explores the possibility of curing this split condition by strengthening the narrativity of
   digital texts. After examining the conception of narrative that prevails at both ends of the
   spectrum, I investigate three types of interactive narrative that have been able to reach
   beyond the traditional audience of computer games and experimental literature: embedded
   stories, represented by Myst and mystery-solving games, emergent stories, represented
   by The Sims, and texts with a somewhat prescripted, but variable story, represented
   by Façade, Michael Mateas and Andrew Stern’s project in interactive drama. For each type
   of text, I suggest how to make the structure more appealing to a reader who engages

   Helene Helgeland - 01.09.2012 - 16:56

7. Human Pratice - How the Problem of Ergodicity Demands a Reactivation of Anthropological Perspectives in Game Studies

   This article presents a critical review (not a rejection) of the concept of “ergodic literature”
   when applied to computer and video games. Therefore it goes back to some of
   the sources Espen Aarseth triggered when he appropriated the term from physics in
   1997 for the subject of cybertext and explains the necessary consequences of the term
   “ergodicity” for literature and games when it is not merely used metaphorically. A more
   cautious use of terms and concepts from other disciplines is suggested, especially as the
   term “ergodic” in physics has a different but relevant meaning in the context of these
   games. The article tries to mediate between some of the general anthropological claims
   of cybertext theory/game studies and the understanding of “ergodic systems” in thermodynamics and statistical physics. The problems that result from this mediation can be
   seen as symptomatic for the challenges of game studies in the more general mediation
   between different perspectives on games.

   (Source: Author's abstract)

   Stig Andreassen - 02.09.2012 - 21:13

8. E-Learning and Literary Studies - Towards a New Culture of Teaching?

   The introduction of digital technologies into the learning processes has meant the creation of new educational spaces that, when they take place on the Internet and are founded in non-presence and asynchrony, are known as “Virtual Learning Environ- ments” (VLE). VLE constitute new pedagogic realities that must answer to the users’ needs, their educational purposes, the curricula with which they work and, specifically, the formative needs for the people that integrate them. But the key to define “virtual” in terms of human experience and not in terms of technological hardware is the concept of “presence,” which is crucial in our pedagogical model and our way of being comparative literature lecturers in a virtual university. Technologies are tools capable of building a learning frame, although it is necessary to endow them with contents and humanity. Different voices have warned of the sterility of a technological environment that does not have any pedagogic or didactic specificity (different from the traditional models). After all, learning is learning whether it has an ex- tra “e” or not, and so VLE are only as good or as bad as the ways they are used.

   Helene Helgeland - 06.09.2012 - 15:47

9. Event-Sequences, Plots and Narration in Computer Games

   Opening with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games that has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and the sequence of events understood as a plot, that is as a sequence of (chronologically) ordered and causally linked events. This kind of narrative is quite remote from the proto- typical narrative serving as a source for most narratological considerations. All media and not only computer games therefore actually need their own narratology.

    Source: author's abstract

   Kristine Turøy - 06.09.2012 - 18:55

10. Video Games and Configurative Performances

    Video Games and Configurative Performances

    Stig Andreassen - 07.09.2012 - 01:37

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