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1. Authoring Software

   A resource for teachers and students of new media writing, who are exploring what authoring tools to use, for new media writers and poets, who are interested in how their colleagues approach their work, and for readers, who want to understand how new media writers and poets create their work, the Authoring Software project is an ongoing collection of statements about authoring tools and software. It also looks at the relationship between interface and content in new media writing and at how the innovative use of authoring tools and the creation of new authoring tools have expanded digital writing/hypertext writing/net narrative practice.

   Judy Malloy - 11.03.2011 - 18:05

2. Expressive Processing: Digital Fictions, Computer Games, and Software Studies

   What matters in understanding digital media? Is looking at the external appearance and audience experience of software enough—or should we look further? In Expressive Processing, Noah Wardrip-Fruin argues that understanding what goes on beneath the surface, the computational processes that make digital media function, is essential.

   Wardrip-Fruin suggests that it is the authors and artists with knowledge of these processes who will use the expressive potential of computation to define the future of fiction and games. He also explores how computational processes themselves express meanings through distinctive designs, histories, and intellectual kinships that may not be visible to audiences.

   Scott Rettberg - 20.05.2011 - 11:26

3. The Global Poetic System: A System of Poetic Positioning

   Laura Borràs Castanyer and Juan B. Gutiérrez present the "Global Poetic System" and propose a framework for the design and application of locative media for literary projects.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 24.05.2011 - 11:34

4. Curveship: An Interactive Fiction System for Interactive Narrating

   From the publication: Interactive fiction (often called “IF”) is a venerable thread of creative computing that includes Adventure, Zork, and the computer game The Hitchhiker’s Guide to the Galaxy as well as innovative recent work. These programs are usually known as “games,” appropriately, but they can also be rich forms of text-based computer simulation, dialog systems, and examples of computational literary art. Theorists of narrative have long distinguished between the level of underlying content or story (which can usefully be seen as corresponding to the simulated world in interactive fiction) and that of expression or discourse (corresponding to the textual exchange between computer and user). While IF development systems have offered a great deal of power and flexibility to author/programmers by providing a computational model of the fictional world, previous systems have not systematically distinguished between the telling and what is told.

   Patricia Tomaszek - 22.07.2011 - 18:44

5. The Aesthetics and Practice of Computational Literature

   While aesthetic practices in photography, film and music have undergone significant transformation due to the affordances of computational tools, the practice of creative and critical writing has remained largely unaffected. As programmable environments further populate the cultural environment it is increasingly important that we understand the ways in which those designed specifically for literary contexts may serve to challenge traditional notions of the writing endeavor. Our paper will provide a brief historical framework for the emergence of generative literary writing practices, a description of a new authoring environment (RiTa) for use in both the production and teaching of digital writing, and an analysis of specific concepts—including layering, materiality, authorial intent, constraints, and distributed creativity—that the use of this environment meaningfully engages.

   (Source: Authors' abstract, 2008 ELO Conference)

   Scott Rettberg - 08.01.2013 - 22:13

6. Writing Digital Media

   There has been quite a bit of debate about the relationship between games and fiction, with important discussions in Wardrip-Fruin and Harrigan's First Person, Jesper Juul's Half-Real, Marie-Laure Ryan's Avatars of Story, and others.  In parallel with this, a number of electronic literature authors have been creating games -- or at least playable experiences -- that have as their focus and reward for play an experience of story, such as Mateas and Stern's Facade, Emily Shorts Galatea, and Stuart Moulthrop's Pax.

   Audun Andreassen - 03.04.2013 - 15:32

7. Game-Based Digitally Mediated Narrative Construction

   There are various ways of constructing a short story or a novel ranging from detailed planning of characters, back story, and plot before beginning to write to fluid writing. Somewhere in the middle, but near fluid writing, is the approach taken by the late television writer Sydney Sheldon who visualized the flow of the story and narrated what he saw and heard to a secretary. The paper surveys practices in narrative construction both current and speculative, such as a possible future use of advanced functional brain imaging, but emphasizes a particular game-based approach currently being attempted in a pilot project.

 At the Virtual Environments Lab researchers are developing a system that generates a text based on game play. The game has two purposes: entertainment for the player and generation of a work of fiction that describes the experiences of the player. Many of the characters and situations come from Through the Looking Glass. The player character, as Alice, explores an 8x8 grid and interacts with non player characters. The NPCs ask questions, and the PC gives free response answers. The PC can also ask the NPCs questions.

   Audun Andreassen - 10.04.2013 - 13:09