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1. The Cut-Up Method of Brion Gysin

   The Cut-Up Method of Brion Gysin

   Meri Alexandra Raita - 11.02.2012 - 11:35

2. A Preliminary Poetics for Interactive Drama and Games

   Interactive drama has been discussed for a number of years as a new AI-based interactive experience (Laurel 1986; Bates 1992). While there has been substantial technical progress in building believable agents (Bates, Loyall, and Reilly 1992; Blumberg 1996, Hayes-Roth, van Gent, and Huber 1996), and some technical progress in interactive plot (Weyhrauch 1997), no work has yet been completed that combines plot and character into a full-fledged dramatic experience. The game industry has been producing plot-based interactive experiences (adventure games) since the beginning of the industry, but only a few of them (such as The Last Express) begin to approach the status of interactive drama. Part of the difficulty in achieving interactive drama is due to the lack of a theoretical framework guiding the exploration of the technological and design issues surrounding interactive drama. This paper proposes a theory of interactive drama based on Aristotle's dramatic theory, but modified to address the interactivity added by player agency.

   Scott Rettberg - 25.06.2013 - 14:39

3. Curating Ambiguity: The Electronic Literature Collection, Volume One

   Interview about the Electronic Literature Collection, Volume 1.

   Scott Rettberg - 08.07.2013 - 20:57

4. Genre Trouble: Narrativism and the Art of Simulation

   Currently in game and digital culture studies, a controversy rages over the relevance of narratology for game aesthetics. One side argues that computer games are media for telling stories, while the opposing side claims that stories and games are different structures that are in effect doing opposite things. One crucial aspect of this debate is whether games can be said to be "texts," and thereby subject to a textual-hermeneutic approach. Here we find the political question of genre at play: the fight over the games' generic categorization is a fight for academic influence over what is perhaps the dominant contemporary form of cultural expression. After forty years of fairly quiet evolution, the cultural genre of computer games is finally recognized as a large-scale social and aesthetic phenomenon to be taken seriously. In the last few years, games have gone from media non grata to a recognized field of great scholarly potential, a place for academic expansion and recognition.

   Scott Rettberg - 09.07.2013 - 00:24