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1. From Ireland with Letters

   Intertwining Irish history and generations of Irish American family memories in a work of polyphonic literature based on the rhythms of ancient Irish Poetry, the imagined lost Irish Sonata, the madrigal, streams and fountains, and Irish song, From Ireland with Lettersis an electronic manuscript of displacement, survival, and the role of art in the abolition of slavery.

   The central place of Irish music, displacement, disrupted tradition in the work of contemporary Irish authors is paralleled in this polyphonic Irish American electronic manuscript. Each part is separate and written in a different structure and tempo, but the whole is integrated by themes introduced in the opening Prologue. Although the workings of each section are different, as a general rule, the work can be read either by waiting for the text to change on its own (as if watching a film or listening to a piece of music) or by clicking on any lexia, in which case the reader takes control of how the story is explored in the manner of hypertext fiction.

   Judy Malloy - 28.03.2012 - 19:51

2. We Descend: Archives Pertaining to Egderus Scriptor, Volume Two

   Every writing addresses someone; this someone is often said to be the author's Ideal Reader. But "ideal" connotes a conceptualized, even perpetrated entity that is an entirely different creature from the real person one addresses when speaking. Now it may be useful to make this distinction in order to discuss, in the abstract, the *process* of writing, but the *practice* is wholly different: in writing anything, you address a real person, and, by addressing, conjure that person into your presence — the "materiality" of this being is, well, immaterial. When a real reader (in contrast to an ideal one) takes up an author's writing, she encounters not a voice speaking to *her*, or not to her directly: she comes in on a conversation already in progress, between the author and the person he is addressing in the writing. Given a sense of the occasion she has just joined, she will wisely keep still at first and pay attention, not just to the author's voice, but also to the silence of the other person listening to him at that moment. Thus she comes to know them both.

   Eric Dean Rasmussen - 14.06.2012 - 16:09

3. Modern Moral Fairy Tales

   Modern Moral Fairy Tales is a tale told in 18 (chai) nodes. The story has two main lines--an upfront fairy tale dealing with greed, isolation, Nigerian scams, and online learning.  The shadow story for this main line concerns a sentient internet cafe and a state run dissemination of information or suppression of information, depending on how you approach it.  MaJe thought this was waaaaay too dark, and hid an Official History of Salmon in Clear Water Ravines, which posits a much better society--under the waves. Her shadow story handles the day to day life of salmon, from financial news to recent literary acquisitions.

   Deena Larsen - 20.06.2012 - 18:59

4. Marking Transition: the Work of Neal von Flue

   For any regular Internet user, the hyperlink has become ubiquitous, almost rendered invisible
   through the frequency of its use. Trails in hypertext are meticulously laid out through the
   seemingly endless streams of data, connected by links imagined as points of intersection in the
   web. Links are used for reference, for navigation but also extensively in creative production, to
   fashion hypertextual narratives and images. It is in this realm of electronic literature, both visual
   and textual, that the function of the link shifts from the commonplace to a carrier of aesthetic
   potential.

   This presentation examines the aesthetic activation of the hyperlink as both an indicator of
   transition and site of transformation. It is a brief exploration of the hyperlink as a signifier, a
   mark both on and in the 'surface' of the digital text, through a close case study of two works by
   hypercomic creator Neal von Flue.

   Eric Dean Rasmussen - 21.06.2012 - 13:54

5. Shakespeare in Simlish? Responsive Systems and Literary Language

   There is a moment that can happen when reading/playing an interactive fiction. The system just presented some text, perhaps quite engaging or even beautiful. And then one tries to reply, using some of the same language, only to receive an error. The underlying system doesn't can't hear the language with which it speaks. The language it displays is written ahead of time, while the language it receives must be parsed and acted upon at runtime.

   There is something uneasy about this disjuncture, and one response is to try to avoid all such problems. Will Wright's Sims speak only in gibberish sounds and visual icons, so that the surface representation of language matches the very simple internal representation of what they can discuss. Chris Crawford currently plans for his new storytelling system to avoid the construction of English-like sentences found in Storytron — instead moving to an icon language intended to help players better understand the internal representations (much more complex than those in The Sims) on which his story system will operate.

   Eric Dean Rasmussen - 22.06.2012 - 16:55