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1. WALLPAPER

   USA-based computer engineer and innovator PJ Sanders returns to his remote family home in the UK following the death of his elderly mother. His agenda: to close the place down and sell it. But not before he employs an experimental device he’s been working on, primed to help him uncover the history behind one particular room in the house – a room that has remained locked since his childhood.

   (Source: Author)

   Andy Campbell - 21.01.2016 - 19:12

2. Wallpaper

   WALLPAPER is an interactive and immersive piece of digital fiction that has been exhibited in the UK at Bank Street Arts Gallery in Sheffield as a largescale projection and as part of the Being Human Festival of the Humanities 2016 in Virtual Reality. Funded by Arts Council England and the Arts and Humanities Research Council, it forms part of the Reading Digital Fiction research project led by Dr Alice Bell at Sheffield Hallam University. Reading Digital Fiction aims to raise public awareness of and engagement with digital fiction by analysing the way that readers respond, applying empirical methods and cognitive theory. Through its accessible storyline, strong visuals and immersive atmosphere, WALLPAPER has engaged non-academic audiences online, through live events and within gallery settings.

   Filip Falk - 06.09.2017 - 17:01

3. Third Generation Electronic Literature

   We are witnessing the emergence of a third generation of electronic literature, one that breaks with the publishing paradigms and e-literatury traditions of the past and present.

   N. Katherine Hayles first historicized electronic literature by establishing 1995 as the break point between a text heavy and link driven first generation and a multimodal second generation “with a wide variety of navigation schemes and interface metaphors” (“Electronic Literature: What Is It?”). Even though Hayles has since rebranded the first wave of electronic literature as “classical,” generational demarcations are still useful, especially when enriching the first generation with pre-Web genres described by Christopher Funkhouser in ​Prehistoric Digital Poetry​ and others. My paper redefines the second generation as one aligned with Modernist poetics of innovation by creating interfaces and multimodal works in which form is invented to fit content.

   Hannah Ackermans - 04.12.2018 - 13:40

4. Always Tomorrow

   Always Tomorrow is a virtual reality fiction piece for HTC Vive. The viewer/reader is positioned in the centre of an infinite visual galaxy populated by 40 small interactive spheres, suggestive of planets but textured with distorted images that resonate with the stories they hold within. The viewer touches the spheres in any order to activate audio and unfold a time-twisting, fringeaffirming, ether-inflected love story set in Berlin in the Weimar Republic with a tomorrow already speaking itself on the protagonists’ lips. We hope the piece resonates with the contemporary moment, too, somewhere between histories and futures; the objects of our desires and our longing, the periphery of the culture and its centre. It’s also a mediation on the power of poetry.

   Vian Rasheed - 18.11.2019 - 15:49

5. A Trace

   Explained very simply, this piece is a story about a man being presented with a mysterious object that is either:

   1. Directions upon which he must act or
   2. Documentation of his own origins

   If they are the former, then the events that are listed are the events that proceed. If they are the latter, the events that proceed are his re-encounter with how he came into being not as an organism, necessarily, but as a someone who believes in space, physicality, reason, etc.

   The piece alternates between two locations: "in here", which is where the narrator builds a space in order to orient himself in relation to the question the mysterious object presents, and "that sort of place", which is where the narrator is presented with new information that both helps and antagonizes him. The juxtaposition of the closed, structured space of "that sort of place" with the open sprawl of "in here" invokes the question that the narrator circles around - whether he can recreate or reconstruct his own beginnings or origins to the point of creating the closed, structured space in which he exists now.

   Cassie Spiral - 03.04.2020 - 19:40