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1. A Clash between Game and Narrative

   In this paper presentation I'll be making a simple point. That computer games and narratives are very different phenomena and, as a consequence, any combination of the two, like in "interactive fiction", or "interactive storytelling" faces enormous problems.
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   Introduction

   Patricia Tomaszek - 14.09.2010 - 13:08

2. Computing Language and Poetry

   [Insert author's abstract here.]

   Montfort introduced a new critical term, stanzory, which refers to "a unit of lines in a poem that is also a narrative with some sort of point."

   Presented at the 2012 MLA Convention as part of the "730. New Media Narratives and Old Prose Fiction" panel, arranged by the Division on Prose Fiction. Other panelists included Dene Grigar and Joseph Tabbi. The moderator, filling in for Amy Elias, was Heather M. Houser.

   Eric Dean Rasmussen - 17.01.2012 - 15:45

3. Graphic Sublime: On the Art and Designwriting of Kate Armstrong and Michael Tippet

   This critical essay was written for the Prairie Art Gallery catalogue presenting Kate Armstrong's and Michael Tippett's Grafik Dynamo! Its argument, implied in the catalogue version, can be stated explicitly in the present scholarly format, namely that narrative, associated with the development of the modern novel in print, is distinctly unsuited to literary arts produced in and for the electronic medium. Narrative in the Dynamo! is not entirely absent, but its dominance is put into question. The same holds for the place of argumentation in critical writing. The Dynamo! develops episodically, haunted by the comics, and by the popular and literary narratives it samples; the essay develops similarly, in blocks of partly autobiographical, partly analytical text. Propositions emerge not sequentially or through feats of interpretation, but at the moment when a block of text encounters a cited image from the Dynamo!

   Eric Dean Rasmussen - 22.06.2012 - 12:13

4. Experiments in Literary Cartography

   Coover wrote: “The most distinctive literary contribution of the computer has been (...) the intimate layering and fusion of imagined spatiality and temporality.” Of course, by “spatiality” Coover meant the topologies of text non-linear in its presentation, not a more literal representation of space. I discuss my experiments using the Google Maps API as an interface for hypertext fiction. This of course is not in itself new, but there are some possibilities in cartography-oriented fiction I would like to call attention to. In particular:

   1. Using a familiar interface, such works may introduce a broader audience to Electronic Fiction, without dumbing it down;

   2. The Golden Age’s concerns with spatiality are recast now with a third extra dimension, represented space in a more literal sense. The realm of topological possibilities in this intertwining – temporality, textual structure, represented space – is vast. 3. Such works inevitably touch upon our subjective relationship with space, and the shifting modes of our articulation thereof. Three works are presented:

   Audun Andreassen - 10.04.2013 - 11:56

5. New Plots for Hypertext?: Towards a Poetics of the Hypertext Node

   While the significance of hypertext links for the new ways of telling stories has been widely discussed, there has been not many debates about the very elements that are being connected: hypertext nodes. Apart from few exceptions, poetics of the link overshadows poetics of the node. My goal is to re-focus on a single node, or lexia, by introducing the concept of contextual regulation as the major force that shapes hypertext narrative units. Because many lexias must be capable of occurring in different contexts and at different stages of the unfolding story, several compromises have to be made on the level of language, style, plot and discourse. Each node, depending on its position and importance, has a varying level of connectivity and autonomy, which affects the global coherence of text.

   Scott Rettberg - 26.05.2013 - 14:25

6. Tangibles and Storytelling

   Tangible User Interfaces (TUI) are systems with the goal of giving a physical aspect to accessing information from a digital medium. Combining physical interactions with digital information in order to evoke a sense of interactivity and control over a system. Coupled with storytelling, these user interfaces become potent information relays, as well as being effective edutainment tools for younger audiences. This is because of physical interactions are extremely significant in providing stimuli for the memory, thus facilitating learning.

   In this paper, we discuss and evaluate several different research papers about various different tangible user interfaces designed to facilitate interactive narratives and storytelling. These systems provide insight to the dynamics of interactive storytelling, and how these tangibles can be used to deliver non-linear storylines and detach the users from the role of a passive observer to an active role in the stories.

   Jill Walker Rettberg - 02.07.2013 - 16:08