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Rev. of Beyond the Screen. Transformations of Literary Structures, Interfaces and Genres
Rev. of Beyond the Screen. Transformations of Literary Structures, Interfaces and Genres
Eric Dean Rasmussen - 04.02.2011 - 12:43
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Iterature
Iterature
Eric Dean Rasmussen - 01.03.2011 - 11:48
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Cyberpoetry Underground
A set of interactive Flash poems exploring different aspects of interface, recombination, and intermediality.
Published in 2003 State of the Arts anthology CD. Published online in 2005 by The Other Voices Poetry Project.
Scott Rettberg - 28.05.2011 - 13:18
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The Significance of Navigation and Interactivity Design for Readers’ Responses to Interactive Narrative
Interactive (or 'hypertext') fiction is a significant new art form because of the highly innovative narrative structures and delivery platforms it embraces, and yet in many extant examples the narrative and the delivery platform, the interface, are not happily wedded. This 'mis-match' can lead to negative experiences for readers. This paper discusses the style and usability of the interface, aiming to offer some guidance to writers. As well as considering the relevant literature, I refer to data from my empirical study of readers' responses to a range of interactive (hypertext) fiction, as supporting evidence for the conclusions offered. I argue that the design of the interface and its navigation systems are of absolutely crucial significance for readers' engagement and absorption with the narrative.
Patricia Tomaszek - 22.09.2011 - 17:47
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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
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Handholding, Remixing, and the Instant Replay: New Narratives in a Postnarrative World
Handholding, Remixing, and the Instant Replay: New Narratives in a Postnarrative World
Scott Rettberg - 03.02.2012 - 15:34
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Critical Sections
The Critical Sections interface enables you to sketch pieces of architectural and cinematic history, along with related commentary, onto virtual pages whose content and composition are under your control. The primary interface element is the "cluster".
Eric Dean Rasmussen - 26.04.2012 - 16:30
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Vectors, Scalar, and Magic: Emerging Platforms for E-lit Scholarship
Emerging media forms do not merely excite artists; they also inspire critics to develop innovative scholarly works. For over seven years, the USC-based Vectors Journal has promoted webbased scholarship by developing and publishing projects that utilize experimental design interfaces, data structures, and digital authoring tools. In this presentation, Vectors’ Creative Director Erik Loyer, Info Design Director Craig Dietrich, and 2011 Fellow Mark Marino will present glimpses of critical works that use innovative platforms to explore their material. Loyer will begin with a presentation that looks at several of his collaborations with scholars to create the dynamic multimodal works of Vectors. Dietrich will follow with a look at the new platform Scalar, a publishing platform based on Vectors’ workflows and Semantic Web technology. Dietrich will also detail Magic, an experimental design fork of Scalar centered on the presentation of software code. Marino will then present his Scalar piece based on the Magic fork which analyzes a work of electronic literature, the Transborder Immigrant Tool, including annotations of the tool’s code.
Eric Dean Rasmussen - 18.06.2012 - 13:40
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E-literature and the Un-coded Model of Meaning: Towards an Ordinary Digital Philosophy
As Ludwig Wittgenstein observes in Culture and Value, “a work of art does not aim to convey something else, just itself.” My paper uses the Wittgensteinian ordinary language philosophy (OLP) perspective to show how e-lit works often encourage a coalescence of various uses of the word ‘meaning’ in literary contexts. Beside the transitive meaning [what something means], the word “meaning” can be intransitively used in at least three different ways, denoting (1) value [how much something means], (2) a specific Gestalt [meaning as expressive of a specific structure], or (3) an (apparent) appropriateness [something as meaningful element]. The difficulty to neatly separate these uses during e-reading can be put in relation with the reconfiguration of our reading experience in terms of what Anna Munster calls inter-facialization.
Eric Dean Rasmussen - 22.06.2012 - 16:52
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Crossed Lines
Crossed Lines is a multiform (or multiplot) film telling the stories of nine characters in a way that the viewer can constantly explore and switch between all nine forms, and can simultaneously witness all sides of the characters’ exchanges which are taking place between the nine remote locations. The starting point of the piece was to conceive a series of narratives that could be viewed as individual stories, but would also reference and link to the other stories, as is the case of the multiplot film genre. As McKee has noted ‘multiplot films never develop a central plot; rather they weave together a number of stories of subplot size’. (1998:227) The difference with Crossed Lines is that it is delivered through an interactive interface paradigm, meaning that the viewer has the power to navigate and order the stories themselves, and to create a story of varying complexity depending on the number of different characters which are selected through the interface.
Scott Rettberg - 08.01.2013 - 17:36
