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Ludology, Narratology, and the Representation of Women in Visual Novels
My paper explores the genre of visual novels, a form of digital interactive fiction popularized in Japan. As very little academic work has been undertaken on visual novels thus far, I explore several different methods for analyzing them, and consider what other scholars may find useful and interesting about them in the future.
Linn Heidi Stokkedal - 05.09.2018 - 14:54
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The Posthuman Poetics of Instagram Poetry
Instagram poetry, a type of digital poetry is, as the name implies, poetry that is produced for distribution through the social media channel Instagram and most usually incorporates creative typography with bite size verses.
Instagram poetry can demonstrate the cultural impact of a posthuman cyborgian fluidity of borders and forms in that we essentially find ourselves left with anthropophagic texts - cannibalistic texts that remix, reuse and re-appropriate content. Digital texts can no longer be regarded as singular standalone objects rather they are constantly changing assemblages in which inequalities and inefficiencies in their operations drive them towards breakdown, disruption, innovation and change
sondre rong davik - 05.09.2018 - 14:54
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Hey Siri, Tell Me a Story: AI, Procedural Generation, and Digital Narratives
This paper examines a selection of examples of AI storytelling from film, games, and interactive fiction to imagine the future of AI authorship and to question the impetus behind this trend of replacing human authors with algorithmically generated narrative. Increasingly, we’re becoming familiarized with AI agents as they are integrated into our daily lives in the form of personified virtual assistants like Siri, Cortana, and Alexa. Recently, director Oscar Sharp and artist Ross Goodwin generated significant media buzz about two short films that they produced which were written by their AI screenwriter, who named himself Benjamin. Both Sunspring (2016) and It’s No Game (2017) were created by Goodwin’s long short-term memory (LSTM) AI that was trained on media content that included science fiction scripts and dialogue delivered by actor David Hasselhoff. It’s No Game offers an especially apt metacommentary on AI storytelling as it addresses the possibility of a writers strike and imagines that entertainment corporations opt out of union negotiations and instead replace their writers with AI authors.
Jane Lausten - 05.09.2018 - 14:57
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E-Lit in the Gutter: Applying McCloud's Transition Categories to Interactive Fiction
This is a speech by Ted Fordyce concerning the Scott McCloud’s "Understanding Comics" book.
The book is about symbolic and iconic representation, the relationship between word and image and the illustration of time. Ted Fordyce thinks it is really helpful for the digital works' interpretation.
The main point is the McCloud’s discussion of the gutter to link-oriented electronic literature: his thought is that the gutter is the result of the author + reader collaboration. There are six different transitions: in each of them, the author determines the type and the reader is the one who provides interpretations.
In conclusion, Ted Fordyce thinks that the McCloud’s discussion «provides us with a useful set of tools as both creators and readers of interactive fiction».
Source: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/items/1214
Chiara Agostinelli - 05.09.2018 - 14:58
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Harlowe-quin Romance: Subversive Play at Love (and Sex) with Twine
model that its own authors rebelled against: “Harlequin thought of everything--except the readers, the authors, and the creative freedom which has traditionally been the cornerstone of literature in Western culture. This publishing giant molded romantic aspirations into super-rationalist forms of communication, the very antithesis of the readers' desires” (“Romance in the Age of Electronics: Harlequin Enterprises,” Feminist Studies 11.1, 54). This description of “molded” aspirations is not so different from the genre molds that dominate the landscape of mainstream gaming: the engines powering franchises place the same inescapable stamp as the Harlequin formula. Romance novels themselves have transformed in the wake of the “e-zines, chat rooms, and bulletin boards” (and their descendants) bringing authors and fans into direct dialogue (Rosalind Gill and Elena Herdieckerhoff, “Rewriting the romance: new femininities in chick lit?” Feminist Media Studies 6.4, 2006).
Amirah Mahomed - 05.09.2018 - 15:02
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Minding the Gap for Online Book Illustrations
Illustrations play a pivotal role in the culture of the book, which is shifting with the mass digitization of images and entire books in our digital age. For those who study and teach with book illustrations from the Renaissance to the early twenty-century, browsing for this type of visual primary source presents contextual difficulties. Problems range from the misattribution of illustrations to the inability to use the images altogether.
(Source: Author's description from ELO 2018 site: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/1234/Minding+the+Gap+for+Online+Book+Illustrations)
Linn Heidi Stokkedal - 05.09.2018 - 15:03
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Stalking, Shredding, and Streaming: Reading E-Lit Through Artists’ Alternative Web Browsers
Alongside the emergent commercial browsers of the late 1990s, several artists made alternative browsers that articulated other ways of conceptualizing a global network of electronic documents, and stood in relief to the particular electronic textuality manifest in browsers like Netscape Navigator and Microsoft’s Internet Explorer—a hypertext imaginary that still deeply informs the predominant browsers of today. Post presents research into three such works: The Web Stalker (1997) by the artist collective I/O/D, Shredder (1998) by Mark Napier, and netomat (1999) by Maciej Wisniewski.
Post will draw on interviews with the artists and art historical analytical methods to describe the development, functioning, and long-term impact of these works. In particular, Post considers the ways in which these artists’ browsers can inform the study and practice of electronic literature.
sondre rong davik - 05.09.2018 - 15:05
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What We Offer You Is More or Less The Sum of Its Parts : The Human in the In My Computer Book Series.
From 2011 to 2016, under the guise of editor Domenico Quaranta, small-house publisher Link Edition published the series In My Computer. The premises is self-explanatory; each author has to amalgamate the contents of what will eventually become a material book (printed through the self-printing service Lulu) using contents gleaned and selected from the artists' personal computers. The results are varied and confounding; from Miltos Manetas' haphazardly garnered manifestos and musings to Martin Howse's mammoth-sized compendium of code lines compiling every operation processed by his computer in the span of the month of June 2011, to the screen-grabs of Ubermorgen and the quotidian color-coding of every Web page accessed by Greg Leuch for months, to mention a few examples, every entry in the In My Computer series attempts to radicalize what it means to reify a computer in book form.
Linn Heidi Stokkedal - 05.09.2018 - 15:10
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Narrating the City in Augmented Aur(e)ality
The idea of walking as the practice of narrating the city constitutes the recurrent theme of Michel de Certau’s “The Practice of Everyday Life:” the pedestrian activity is repeatedly compared to or described as “enunciation,” “enunciatory operations,” “statements” and “stories”. According to the French sociologist, “[t]he act of walking is to the urban system what the speech act is to language or to the statements uttered” (de Certeau 1988: 97). The story of spatial practices “begins on ground level, with footsteps” (de Certeau 1988: 97) and “the art of >>turning<< phrases finds an equivalent in an art of composing a path (tourner un parcours)” (de Certeau 1988: 100). It might well be said that walking in the city represents not only the very prototype of ergodic literature (Aarseth 1997) but also predates the notion of augmented reality in its technological sense.
Susanne Årflot Løtvedt - 05.09.2018 - 15:12
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Narratologize it, Don’t Criticize it: feat. With Those We Love Alive
There is a moment in Porpentine’s With Those We Love Alive (2014) when we must choose whether to join a murderous mob (albeit one murdering soft, pink, kitten-like “princess spores” that have spawned from a Skull Empress). It serves as a prompt to read digital narratives of choice – often, binary ones – in light of the intensely binarized socio-political moment more broadly.
Amirah Mahomed - 05.09.2018 - 15:13
