Search

The search found 57 results in 0.095 seconds.

Search results

1. Nightingale's Playground

   Andy Campbell and Judi Alston’s The Nightingale’s Playground is a digital fiction work that was created with Flash in 2010. The main character is Carl Robertson, who tries to figure out what has happened to his lost high-school friend Alex Nightingale. The piece leads the reader/player through a world experienced from Carl’s perspective. It consists of four individual parts, the first section “Consensus”, an interactive point- and click game that can be played online, downloadable “Consensus II” which transports the reader into a dark 3D flat with text snippets , the “Fieldwork book” is a browser based grungy sketchbook with puzzling notes and the last part is a PDF version of the story.

   Eric Dean Rasmussen - 12.02.2011 - 18:43

2. Immersion versus Interactivity: Virtual Reality and Literary Theory

   Virtual Reality has been defined as an "interactive, immersive experience generated by computer " (Pimentel and Texeira).This paper investigates the possibility of the literary implementation of these two dimensions. While immersion plays an important role in theories of fiction based on the concept of possible world and of game of make-believe, it presupposes a transparency of the medium that goes against the grain of postmodern aesthetics. Postmodern literature emulates the interactive aspect of VR in a metaphorical way through self-reflexivity, and in a more literal way through hypertext, but both of these attempts involve the sacrifice of the pleasure derived from immersion. In computer-generated VR, by contrast, immersion and interactivity do not stand in conflict but support each other. The difference in behavior between VR and literature is seen to reside in the participation of the body. While textual worlds are created through a purely mental semiotic activity which presupposes an external point of view, the worlds of VR are created from within through an activity both mental and physical.

   Scott Rettberg - 19.05.2011 - 17:09

3. Virtual Reality Exhibit at the Singapore Museum

   A hypertext poem. The reader navigates through different stanzas by selecting icons.

   Author's note:

   The sheer profusion of a city like Singapore calls reality into question. Exhilarating mix of cultures, plants and animals, surreal insects and multi-colored carp, it plays on the nagging fear that this world is not quite our home. Such anxiety is pitched to the surface by the pressure of the ordinary loneliness of a stranger in a strange land .

   We can't escape the making of virtuality, any more than we can avoid being connected to the human city (genet) and at the same time individuated from it (ramet). Everything "suffering description," which is the world, the "possible to be believed," is real. And in this fecund city of lives within a strict order, we become acutely aware that the assertion "In the city of Singapore eyes saw" is not so simple.

   (Source: The New River 3)
    

   Scott Rettberg - 12.10.2011 - 11:29

4. Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media

   A broad narratological discussion of immersion and interactivity, not only in digital media but in print fiction. Includes a chapter fully devoted to a close reading of Michael Joyce's Twelve Blue.

   (Source: ELMCIP)

   Is there a significant difference in attitude between immersion in a game and immersion in a movie or novel? What are the new possibilities for representation offered by the emerging technology of virtual reality? As Marie-Laure Ryan demonstrates in Narrative as Virtual Reality, the questions raised by new, interactive technologies have their precursors and echoes in pre-electronic literary and artistic traditions. Formerly a culture of immersive ideals—getting lost in a good book, for example—we are becoming, Ryan claims, a culture more concerned with interactivity. Approaching the idea of virtual reality as a metaphor for total art, Narrative as Virtual Reality applies the concepts of immersion and interactivity to develop a phenomenology of reading. 

   Jill Walker Rettberg - 15.10.2011 - 21:11

5. Productions of Presence: Sensing Electronic Literature

   Using the virtual reality work Screen by Noah Wardrip-Fruin (designed for Brown University’s CAVE) as a tutor-text, the paper addresses cave rhetoric as it relates to Hans Ulrich Gumbrecht’s concept of production of presence. One generalization to be made about CAVE pieces is that they foster a tactile impulse, despite the fact that tangibility in VR is unachievable. As he dissects “the gravity of the leaf” in his eponymous 2010 essay, John Cayley speaks of a new phenomenology of language, one wherein floating textual strings would not constitute acts of remediation proper but rather frame new instances of mediation (CAYLEY, 2010). Inasmuch as it re-introduces embodied text as both dislodged symbolic inscription and virtual obstacle – though lacking a third dimension, text becomes perceivable in space as solid matter –, then one might argue that the CAVE rehabilitates and multiplies the paradoxes with which literary criticism has had to grapple in the past with the advent of Concrete poetics.

   Eric Dean Rasmussen - 30.05.2012 - 11:24

6. Against Information: Reading (in) the Electronic Waste Land

   Digital approaches to information processing foreground the unique interdependence between
   knowledge and its representation that has been characteristic of western epistemology for the past five centuries. The essential role representation formats play in modern knowledge construction is generally accepted in all disciplines, attributing, learning and intellectual progress less to one's direct engagement with actual phenomena, and more to notational structures that convey its formulation. In this paradigm, knowledge follows exclusively from its theoretical articulation, not the other way around.

   Eric Dean Rasmussen - 22.06.2012 - 16:53

7. Labylogue

   Labylogue est un espace de conversation.

   Dans trois lieux différents reliés par Internet, Bruxelles, Lyon , Dakar , les visiteurs déambulent dans un labyrinthe virtuel en quête de l’autre.

   Deux à deux ils dialoguent en français.

   A mi-chemin entre le livre et la Bibliothèque de Babel de Borgès, les murs se tapissent de phrases générées en temps réel, qui sont autant d’interprétations du dialogue en cours. A son tour le texte fait l’objet d’une interprétation orale qui anime l’espace du labyrinthe tel un choeur de synthèse qui vagabonde sur les rives de la langue en action.

   La médiation numérique introduit dans la communication des couches d’interprétation qui échappent à l’intention brouillant parfois le sens. La parole reprend alors ses droits. Elle glisse sur l’interprétation de la machine en privilégiant le contact là où la trace écrite dérive.rive.

   Patricia Tomaszek - 23.08.2012 - 13:20

8. Space for writing: a sidelong glance at the history of immersive spatial hypertext

   The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.

   (Source: Author's abstract for ELO_AI)

   Audun Andreassen - 14.03.2013 - 14:42

9. Cardamom of the Dead

   Written in Unity for use with Oculus RIFT glasses, Cardamom of the Dead is a literary VR environment - the user wanders through a virtual environment filled with a vast collection of things a narrator, heard in voice-over, has hoarded over years (decades? centuries?).  The environment is filled with debris and stories and the piece is ultimately a meditation on collecting as madness, consoling practice and memory palace.

   (Source: ELO 2014 Media Arts Show)

   Scott Rettberg - 24.06.2014 - 19:14

10. Artificial Reality

    Artificial Reality

    Scott Rettberg - 22.08.2014 - 10:54

Pages