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1. Playable Media and Textual Instruments

   The statement that "this is not a game" has been employed in many ways — for example, to distinguish between high and low culture electronic texts, to market an immersive game meant to break the "magic circle" that separates games from the rest of life, to demarcate play experiences (digital or otherwise) that fall outside formal game definitions, and to distinguish between computer games and other forms of digital entertainment. This essay does not seek to praise some uses of this maneuver and condemn others. Rather, it simply points out that we are attempting to discuss a number of things that we play (and create for play) but that are arguably not games. Calling our experiences "interactive" would perhaps be accurate, but overly broad. An alternative — "playable" — is proposed, considered less as a category than as a quality that manifests in different ways. "Playable media" may be an appropriate way to discuss both games and the "not games" mentioned earlier.

   Jörgen Schäfer - 05.07.2011 - 13:35

2. Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext

   Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext

   Eric Dean Rasmussen - 07.07.2011 - 16:37

3. A Cartography of the Aesthetics and Locality of Forgetting: Preliminary Remarks on Samuel Delany’s Dhalgren, Mark Amerika’s Hypertextual Consciousness [beta-version] and Christopher Nolan’s Memento

   Theodoros Chiotis - 15.10.2011 - 13:52

4. Repetition and Recombination: Reading Network Fiction

   Repetition and Recombination: Reading Network Fiction is the first full-length study devoted to network fiction. Network fictions are narrative texts in digitallynetworked environments that make use of hypertext technology in order to create emergent and recombinatory narratives (unlike interactive, or "arborescent," fictions that employ mutually exclusive plotlines). They represent a coalescence of works that predate and postdate the World Wide Web but share an aesthetic drive that exploits the networking potential of digital composition and foregrounds a distinctive quality of narrative recurrence and return. The thesis consists of (1) a critical and theoretical component that returns to printbased narratology in light of digital literature; (2) analyses of network fictions from the first-wave of digital literature published as stand-alone software applications; and (3) analyses of second-wave network fictions published on the World Wide Web. The analyses each focus on the interplay of the material, formal, and semantic elements of network narrative, an jnterplay that is framed by the dynamics of repetition.

   Scott Rettberg - 13.12.2012 - 22:59

5. Talan Memmott's "Lexia to Perplexia"

   The combination of dynamic screen presentations with integrations of visual and textual ciphers is a characteristic of a net projects´ group in Memmott´s work. "Lexia to Perplexia" (2000) provokes attention as a maturated example of this group. Memmott developed "Lexia to Perplexia" as a hyperfiction combining icons, parts of codes resp. punctuation marks and neologisms via DHTML and Javascript. Users can investigate the possible screen presentations of the ten source codes resp. chapters. Memmott´s combinations of textual parts with pictures reflect relations between users (as "remote bodies"), their screens and networks. This article on "Lexia to Perplexia" explains connections between the internal parts of the project and proposes some clues for the interpretation of (relations between) ciphers in the hope to facilitate reading and deciphering.

   (Source: Author's abstract)

   Scott Rettberg - 08.07.2013 - 13:15

6. Le récit littéraire interactif. Narrativité et interactivité

   The expression interactive literary narrative applies to a variety of works. In its diversity, the
   interactive literary narrative raises questions on narratives, interactive architecture, multimedia as
   well as on literature. It is because the interactive literary narrative is wrought by tensions that it has
   this questioning and maybe even revealing capacity. This tension is first and foremost that which lies between narrativity and interactivity and which investigates other connections or tensions :
   - with regards to the narrative, the tension between adherence and distance can be characterized by a play on fictionalization and reflexivity;
   - with regards to the interactive architecture, the tension between assistance and control roles can
   manifest itself by a play on loss of grasp,
   - with regards to the multimedia, the tension between a text-based narrative and a multimedia
   narrative can be reached by work on text as a dynamic and polysemiotic object, and also the
   theatralization of interactive objects endowed with behaviour,

   Patricia Tomaszek - 09.07.2013 - 20:19