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1. Literary Hypertext: The Passing of the Golden Age

   29 October 1999 Keynote Address, Digital Arts and Culture Atlanta, Georgia (This speech was also published in Feed in 2000.) Coover's DAC Keynote address discussed the transition from the "golden age" of narrative-driven, text-dominated hypertext fiction, mainly produced in Storyspace, to an era dominated by the practices and attention spans of the World Wide Web, and a new focus on the image.

   Scott Rettberg - 25.03.2011 - 16:18

2. All Together Now: Collective Knowledge, Collective. Narratives, and Architectures of Participation

   This essay is an exploration of the history and methodologies of collective narrative projects, and their relationship to collective knowledge projects and methodologies. By examining different forms of conscious, contributory, and unwitting participation, the essay attempts to develop a richer understanding of successful large-scale collaborative projects. The essay then examines large-scale architectures of participation in Wikipedia and Flickr to extrapolate from those observations potential methodologies for the creation of collective narratives.

   (Source: Author's abstract)

   Scott Rettberg - 26.03.2011 - 18:08

3. "Uncle Roger", an Online Narrabase

   Uncle Roger is a "narrabase" or narrative database. It was first told as an online serial on Art Com Electronic Network (ACEN) and then was published as an interactive online database on ACEN. It is also available as computer software for both Apple II and IBM-compatible computers. The narrabase form uses a computer database to build up levels of meaning. The artist explains how this form evolved from her visual books and her information databases. She discusses the story and structure of Uncle Roger and describes how the story was told and published in an online community. In the conclusion she discusses the future of computer literature.

   (Source: author's abstract for paper)

   Jill Walker Rettberg - 04.04.2011 - 20:49

4. Cognitive Fictions

   The first comprehensive look at the effect of new technologies on contemporary American fiction. Bringing together cognitive science and literary analysis to map a new "media ecology," Cognitive Fictions limns an evolutionary process in which literature must find its place in an artificial environment partly produced and thoroughly mediated by technological means. Joseph Tabbi provides a penetrating account of a developing consciousness emerging from the struggle between print and electronic systems of communication. Central to Tabbi's work is the relation between the arrangement of communicating "modules" that cognitive science uses to describe the human mind and the arrangement of visual, verbal, and aural media in our technological culture. He looks at particular literary works by Thomas Pynchon, Richard Powers, David Markson, Lynne Tillman, Paul Auster, and others as both inscriptions of thought consistent with distributed cognitive models, and as self-creations out of the media environment.

   Eric Dean Rasmussen - 19.06.2011 - 13:25

5. Wreader's Digest - How To Appreciate Hyperfiction

   Compared to its age - or youth - hyperfiction is a rather well-theorized genre. Hyperfiction-criticism either praises its subject as evolved print-text and better realization of contemporary literary theory - or deplore its - allegedly - low literary quality. What is missing, however, are in-depth readings of digital fiction that deemphasize theory and try to appreciate this new genre for what it has to offer.

   In this "paper", I will read two hyperfictions that are not among the two or three canonized texts that are relatively well-known and often-quoted. Both John McDaid's Uncle Buddy's Phantom Funhouse and Sarah Smith's King of Space deal with central issues of hypertext-theory - in content as well as formally. They are about agency and sense-making, ironically deconstructing mainstream theory's claims that digital, hyperlinked texts activate readers into a de-facto author-position. They are also representations of contemporary life that may be difficult to read at first but also make strangely adequate and enjoyable texts for today's readers. (Source: abstract in journal)

   Jill Walker Rettberg - 16.11.2011 - 12:01

6. Fiction and Interaction: How Clicking a Mouse Can Make You Part of a Fictional World

   This PhD dissertation is about works in which the user is a character in a fictional world, and the interaction that such works allow. What happens when you become a character in the story you're reading?

   The concept "ontological interaction" is proposed, which is a form of interaction where the user is included in the fictional world. Kendall Walton's concept of fictional worlds is explored in relation to electronic literature and digital art, and other narratological concepts are also examined, in addition to a general focus on the themes of force and control.

   Jill Walker Rettberg - 01.03.2012 - 11:27

7. The Cape: The Backstory

   The Cape: The Backstory offers background information about the conceptualization, creation, dissemination of The Cape, a work of digital literature created by J. R. Carpenter in 2005.

   J. R. Carpenter - 02.04.2012 - 11:47

8. Introduction [to New Narratives: Stories and Storytelling in the Digital Age]

   Editors' introduction to a collection of essays on digital narratology. 

   Eric Dean Rasmussen - 10.05.2012 - 13:26

9. One Book, Many Readings: Nostalgia and Finite State Machines

   One Book, Many Readings: Nostalgia and Finite State Machines

   Scott Rettberg - 10.10.2012 - 09:32

10. Autofiction on Screen: Self-representation of an Egyptian ‘Spinster’ in a Literary Blog

    In this paper the blog Yawmiyyat 3nis [Diary of a Spinster] written by the Egyptian 3Abeer Sulayman [Abeer Soliman] is conceived as a form of autofiction. In fact, two aspects of online writing are of great importance for Egyptian bloggers. Firstly, blogging has given the Egyptian young people the possibility of sharing their innermost feelings and daily frustration without the fear of identification and humiliation due to their relative anonymity. Secondly, the computer operates as a projective device that allows users to discover and create different versions of themselves (Sorapure, 2003). Thus, blog writing facilitates autobiographic writing but at the same time turns daily life into fiction. The analysis of Abeer Soliman’s blog aims to show how the computer has an impact on the way diaries are written. On a structural level, I will highlight the presence of distinct literary features that are enhanced by the medium: the use of visual/audio components, the interaction with readers, and the presence of links. All these elements are essential for the understanding of Abeer’s self-representation.

    Jill Walker Rettberg - 23.11.2012 - 13:36

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