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1. Virtual Reality Literature: Examples and Potentials

   Important piece by @MezBreezeDesign on @TheWritPlatform about creating #elit and #digitalfiction in the #VR space.

   - Kate Pullinger

   mez breeze - 11.08.2018 - 23:43

2. Critical examination of concepts relating to canon, preservation, and access

   Astrid Ensslin (University of Alberta), offers a critical examination of concepts relating to canon, preservation, and access. Adopting an essentially critical outlook on canonization as a process of scholarly and social elitization, she argues that material (financial, geographic, and technological) access has always been a discriminating, regulatory factor in canon development, even if we assume a dynamic concept of canon (Ensslin 2007) or a crowdsourcing, emergent approach (Rettberg 2013) that align with contemporary, fast changing technological developments. Ensslin’s paper focuses on the ​Eastgate Quarterly Review of Hypertext ​(​EQRH​), published in two volumes between 1994 and 1995, which has been largely neglected by digital fiction scholarship, mainly because of incompatibility and obsolescence issues.

   Akvile Sinkeviciute - 29.08.2018 - 15:25

3. The Interlocutor in Print and Digital Fiction: Dialogicity, Agency, (De-)Conventionalization

   Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER).

   Astrid Ensslin - 13.06.2019 - 00:01