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1. Web/Fiction/Design: A brief beta-test of this year’s winner of the ELO Awards, Caitlin Fisher’s These Waves of Girls

   A (literature) award usually comes with publicity as well as responsibility. As this year's ambassador of digital literature, the US-American Electronic Literature Organization chose a webfiction that does not meet the technological standards of current internet or CD-ROM productions. Neither the rather outdated technique of frames, nor Flash (a program for moving images), nor the embedding of sounds have been implemented in a way that is technologically useful (there's nor debating aesthetics) or ar least more or less correct. About 15 years after the "invention" of digital literature (this date, too, is open for discussion), the technology available has become so sophisticated that a single author obviously can no longer live up to the demands as a lonely creative genius. The quality even of praised digital literature seems to indicate that, caused by the raising of technical standards, the future lies in what collaborative writing in hypertext or online "Mitschreibeprojekte" did not mange to establish: the dismissal of authorship in the traditional sense of authoritiy over the text in favor of a plural, diverse team-work.

   (Source: article abstract)

   Jill Walker Rettberg - 01.11.2011 - 14:24

2. Wreader's Digest - How To Appreciate Hyperfiction

   Compared to its age - or youth - hyperfiction is a rather well-theorized genre. Hyperfiction-criticism either praises its subject as evolved print-text and better realization of contemporary literary theory - or deplore its - allegedly - low literary quality. What is missing, however, are in-depth readings of digital fiction that deemphasize theory and try to appreciate this new genre for what it has to offer.

   In this "paper", I will read two hyperfictions that are not among the two or three canonized texts that are relatively well-known and often-quoted. Both John McDaid's Uncle Buddy's Phantom Funhouse and Sarah Smith's King of Space deal with central issues of hypertext-theory - in content as well as formally. They are about agency and sense-making, ironically deconstructing mainstream theory's claims that digital, hyperlinked texts activate readers into a de-facto author-position. They are also representations of contemporary life that may be difficult to read at first but also make strangely adequate and enjoyable texts for today's readers. (Source: abstract in journal)

   Jill Walker Rettberg - 16.11.2011 - 12:01

3. A New "Gospel of the Three Dimensions": Expanding the Boundaries of Digital Literature in Jörgen Schäfer and Peter Gendolla's Beyond the Screen

   A review of Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres, edited by Peter Gendolla and Jörgen Schäfer.

   Patricia Tomaszek - 21.01.2012 - 22:53

4. Beyond Myth and Metaphor: Narrative in Digital Media

   The concept of narrative has been widely invoked by theorists of digital textuality, but the promotion of what is described as the storytelling power of the computer has often relied on shallow metaphors, loose conceptions of narrative, and literary models that ignore the distinctive properties of the digital medium. Two myths have dominated this theorization. The myth of the Aleph (as I call it) presents the digital text as a finite text that contains an infinite number of stories. The myth of the Holodeck envisions digital narrative as a virtual environment in which the user becomes a character in a plot similar to those of Victorian novels or Shakespearean tragedies. Both of these myths rely on questionable assumptions: that any permutation of a collection of lexias results in a coherent story; that it is aesthetically desirable to be the hero of a story; and that digital narrativity should cover the same range of emotional experiences as literary narrative. Here I argue that digital narrative should emancipate itself from literary models. But I also view narrative as a universal structure that transcends media.

   Eric Dean Rasmussen - 15.05.2012 - 14:07

5. Graphic Sublime: On the Art and Designwriting of Kate Armstrong and Michael Tippet

   This critical essay was written for the Prairie Art Gallery catalogue presenting Kate Armstrong's and Michael Tippett's Grafik Dynamo! Its argument, implied in the catalogue version, can be stated explicitly in the present scholarly format, namely that narrative, associated with the development of the modern novel in print, is distinctly unsuited to literary arts produced in and for the electronic medium. Narrative in the Dynamo! is not entirely absent, but its dominance is put into question. The same holds for the place of argumentation in critical writing. The Dynamo! develops episodically, haunted by the comics, and by the popular and literary narratives it samples; the essay develops similarly, in blocks of partly autobiographical, partly analytical text. Propositions emerge not sequentially or through feats of interpretation, but at the moment when a block of text encounters a cited image from the Dynamo!

   Eric Dean Rasmussen - 22.06.2012 - 12:13

6. Focalization and Digital Fiction

   Focalization and Digital Fiction

   Eric Dean Rasmussen - 24.09.2012 - 07:23

7. Netprov: Elements of an Emerging Form

   While improvisational theater has a well-documented history, the role of improvisation on the Internet has been only the topic of passing speculation (Laurel; Murray), either applied metaphorically to the user interface or in speculation on the nature of computer-mediated textual exchange particularly in the context of identity formation (Turkle). While improvisation is deeply connected to the authorial practices of players of MMORPGs and their MOO precursors (LaFarge) and to players of story-generation games such as Jason Rohrer’s “Sleep is Death” and to participants in ARGs, we are specifically interested in text-centered improvisation that has as its goal the creation of a narrative or narrative world, rather than primarily the development of a game experience.

   Scott Rettberg - 25.06.2013 - 14:30

8. Justin Hall and the Birth of the 'Blogs

   Wittig describes his experience of Justin Hall's links.net and considers the weblog as a serial narrative form.

   Scott Rettberg - 05.07.2013 - 14:07

9. Reorienting Narrative: E-lit as Psychogeography

   Illya Szilak interviews J. R. Carpenter in her on-going series of posts on E-Lit for Huffington Post Books.

   J. R. Carpenter - 08.07.2013 - 11:54

10. Discourse Timer: Towards Temporally Dynamic Texts

    This paper studies the possibilities of temporally dynamic digital texts. Temporal dynamics may be either dependent on the reader's use of time, or independent of it. Using the categories defined in narratology as our starting point, we outline a list of simple functions that allow a very complex temporal manipulation of narrative digital texts. We will also describe a set of authoring tools, Discourse Timer, which is specifically designed to employ these functions.

    (Source: Authors' abstract)

    Scott Rettberg - 08.07.2013 - 15:54

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