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1. SoundAFFECTs: transcoding, writing, new media, affect”, Scan: Journal of Media Arts Culture,vol 4. no. 1

   SoundAFFECTs: transcoding, writing, new media, affect”, Scan: Journal of Media Arts Culture,vol 4. no. 1

   Hazel Smith - 23.08.2021 - 08:00

2. Posthuman collaboration: multimedia, improvisation and computer mediation

   Posthuman collaboration: multimedia, improvisation and computer mediation

   Hazel Smith - 23.08.2021 - 08:07

3. Cursors and Crystal Balls: digital technologies and the futures of writing

   Cursors and Crystal Balls: digital technologies and the futures of writing

   Hazel Smith - 23.08.2021 - 08:10

4. The Egg The Cart The Horse The Chicken: cyberwriting, sound, intermedia

   The Egg The Cart The Horse The Chicken: cyberwriting, sound, intermedia

   Hazel Smith - 23.08.2021 - 08:13

5. Spatial Relationships, Cosmopolitanism and Musico-Literary Miscegenation in the New Media Work of austraLYSIS

   Spatial Relationships, Cosmopolitanism and Musico-Literary Miscegenation in the New Media Work of austraLYSIS

   Hazel Smith - 23.08.2021 - 08:16

6. Grappling With the Actual: Writing on the Periphery of the Real

   This essay considers literary realism in relation to two of my own recent works of digital literature: This is a Picture of Wind: A Weather Poem for Phones, and The Pleasure of the Coast: A Hydro-graphic Novel. Both of these web-based works grapple with the actual world we live in: a post-digital world, in which invisible layers of data inform our daily thoughts and actions; a post-human world, of vast oceans and ceaseless winds. These works use the affordances of the internet to call attention to the historical, colonial, elemental, and material substrate of the internet; both attempt to represent the reality of the vast corpus of non-human writing which lurks beneath the mere appearance of the screen. Methodologically, this essay grapples with the material and contextual actualities of these works by turning its attention to earlier analogous moments in the intertwined histories of technology, science, and writing. In particular, this essay is concerned with the technology of the ship, the science of measurement, and the writing of the vast non-human systems of coastlines and winds.

   J. R. Carpenter - 27.08.2021 - 12:54

7. Mapping Place / Troubling Space

   This essay expands on writing, thinking, talking, and walking undertaken in collaboration with London-based writer Mary Paterson. Throughout our collaboration Mary has asked questions about place, migration, identity, and belonging. Questions that are mostly unanswerable. Questions that I’ve tried to answer anyway. Because speaking about the unspeakable with someone comes as a relief. Building on a series of keynotes presented 2018-2019, this essay is structured around keyframes, a term borrowed from animation. Echoing the timeline feature common to animation, audio, and video editing softwares, this essay is designed to be read in a long horizontal scroll.

   J. R. Carpenter - 27.08.2021 - 13:07

8. Una nueva colección de literatura electrónica en lengua española en la web de ELMCIP

   Una nueva colección de literatura electrónica en lengua española en la web de ELMCIP

   Maya Zalbidea - 06.09.2021 - 14:17

9. "What hypertexts can do that print narratives cannot"

   'In this article, the author situates hypertext fiction readers in a binary relationship with their print counterparts. The hypertext reader is compared to the print reader in terms of the choices each medium allows.' 

   (Source: from Analyzing Digital Fiction by Alice Bell, Astrid Ensslin, Hans Rustad)

   Agnete Thomassen Steine - 22.09.2021 - 10:48

10. "A Case Study in the Design of Interactive Narrative: The Subversion of the Interface"

    'There is a potential conflict in the design of interactive narratives. The exercise of interaction in digital environments, including games, may interfere with the experience of story. The article uses the interactive CDROMCEREMONYOFINNOCENCE as a case study in the resolution of this potential conflict. It frames the design of this interactive narrative as the reconciliation of two independent design domains: the design of narrative and interactive design. Narrative design seeks a state of immersive surrender to the work. In contrast, interaction privileges choice and its consequences according to the logic of the interactive world. CEREMONY OF INNOCENCE uses two tactics to overcome this disjuncture. The first is the broad infusion of narrative sensibilities in the detailed design of the work’s subsidiary craft (sound, graphics, moving images, and text). The second tactic is to suborn certain design specifics of the interactive interface to the goals of narrative design.'

    (Source: from the article abstract) 

    Agnete Thomassen Steine - 22.09.2021 - 11:59

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