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1. Footnotes in Fiction: A Rhetorical Approach

   This study explores the use of footnotes in fictional narratives. Footnotes and endnotes fall under the category of what Gérard Genette has labeled paratexts, or the elements that sit above or external to the text of the story. In some narratives, however, notes and other paratexts are incorporated into the story as part of the internal narrative frame. I call this particular type of paratext an artificial paratext. Much like traditional paratexts, artificial paratexts are often seen as ancillary to the text. However, artificial paratexts can play a significant role in the narrative dynamic by extending the boundaries of the narrative frame, introducing new heuristic models for interpretation, and offering alternative narrative threads for the reader to unravel. In addition, artificial paratexts provide a useful lens through which to explore current theories of narrative progression, character development, voice, and reliability. In the first chapter, I develop a typology of paratexts, showing that paratexts have been used to deliver factual information, interpretive or analytical glosses, and discursive narratives in their own right.

   Patricia Tomaszek - 16.11.2012 - 15:43

2. Interactive Drama, Art, and Artificial Intelligence

   Artificial intelligence methods open up new possibilities in art and entertainment,
   enabling rich and deeply interactive experiences. At the same time as AI opens up new
   fields of artistic expression, AI-based art itself becomes a fundamental research agenda,
   posing and answering novel research questions that would not be raised unless doing AI
   research in the context of art and entertainment. I call this agenda, in which AI research
   and art mutually inform each other, Expressive AI. Expressive AI takes seriously the
   problem of building intelligences that robustly function outside of the lab, engaging
   human participants in intellectually and aesthetically satisfying interactions, which,
   hopefully, teach us something about ourselves.

   Scott Rettberg - 13.12.2012 - 17:36

3. Generating Narrative Variation in Interactiv Fiction

   A general method for the generation of natural language narrative is described. It allows the expression, or narrative discourse, to vary independently of the underlying events and existents that are the narrative’s content. Specifically, this variation is accomplished in an interactive fiction (IF) system which replies to typed input by narrating what has happened in a simulated world. IF works have existed for about 30 years as forms of text-based computer simulation, instances of dialog systems, and examples of literary art. Theorists of narrative have carefully distinguished between the level of underlying content (corresponding to the simulated world in interactive fiction) and that of expression (corresponding to the textual exchange between computer arnd user) since the mid-1960s, when the field of narratology began to develop, but IF systems have not yet made use of this distinction. The current project contributes new techniques for automatic narration by building on work done in computational linguistics, specifically natural language generation, and in narratology.

   Scott Rettberg - 13.12.2012 - 20:01

4. Interactive fiction, virtual realities, and the reading-writing relationship

   Interactive fiction, virtual realities, and the reading-writing relationship

   Scott Rettberg - 13.12.2012 - 21:14

5. Print Pathways and Electronic Labyrinths: How Hypertext Narratives Affect the Act of Reading

   Print Pathways and Electronic Labyrinths: How Hypertext Narratives Affect the Act of Reading

   Scott Rettberg - 13.12.2012 - 21:30

6. Next Generation Literary Machines: The “Dynamic Network Aesthetic” of Contemporary Poetry Generators

   This dissertation investigates the current state of digital poetry generators. The study argues that today’s poetry programs embody a new stage distinct from second- generation digital literature. The new stage projects a “dynamic network aesthetic,” reflective of four trends in Web 2.0 cultural production: the potential for mass aggregation; the adoption of participatory platforms; the instability of textual material; and the unpredictability of individual actors. The chapters interrogate the ways in which the four characteristics emerge in three categories of poetry generators: programs that manipulate user input; programs that manipulate Internet text; and programs that generate autonomous content. Corresponding with the three categories, three theorists of the machine inform the discussion. Donna Haraway, Jean Baudrillard, and Gilles Deleuze each provide apt approaches to twenty-first-century technology. However, each theorist also demonstrates the ways in which recent models of the machine do not yet fully account for the “dynamic network aesthetic” of the Internet era.

   Scott Rettberg - 08.01.2013 - 17:07

7. Theorizing Digital Narrative: Beginnings, Endings, and Authorship

   [Published under author's previous name, Jennifer Smith] Since its development, critics of electronic literature have touted all that is "new" about the field, commenting on how these works make revolutionary use of non-linear structure, hyperlinks, and user interaction. Scholars of digital narrative have most often focused their critiques within the paradigms of either the text-centric structuralist model of narrativity or post-structuralist models that implicate the text as fundamentally fluid and dependent upon its reader for meaning. But neither of these approaches can account completely for the unique modes in which digital narratives prompt readerly progression, yet still exist as independent creative artifacts marked by purposive design. I argue that, in both practice and theory, we must approach digital-born narratives as belonging to a third, hybrid paradigm. In contrast to standard critical approaches, I interrogate the presumed "newness" of digital narratives to reveal many aspects of these works that hearken to print predecessors and thus confirm classical narratological theories of structure and authorship.

   Jennifer Roudabush - 13.01.2013 - 23:40

8. The melancholic hypertext : the fate of the writer in the tangential narrative

   This thesis examines the nature of an electronic medium known as hypertext in relation to the act and experience of writing and expression. Essential to the thesis is a conviction that the experiential realm that is created by a particular medium of communication and/or representation is capable of also creating new 'habits of mind' or 'worldings.' These two concepts are indicative of the intensity of experience that is made available via an expressive act and the extent to which the various aspects of this intensity are capable of transformations on personal and public levels. One of the central issues of the thesis is an ongoing re-evaluation of the euphoric claims that trumpet hypertext as usurping the so-called tyranny of the book and the domain of linear thinking in general.

   Jill Walker Rettberg - 23.01.2013 - 23:58

9. Formalisation d’un modèle fonctionnel de communication à l’aide des technologies numériques appliqué à la création poétique

   This work develops a theoretical model of the communication which is established in e-poetry between an author and a reader by use of two computers. One is used to create the work and the other to read it. The files are transmitted with a CDROM.

   We make first a diachronic study of the field. It shows that conceptions gradually evolve. The study of visual forms shows that the mind representation of the system made by the actors are important in this communication.

   The model of linked text is purposed. The concept of text depends upon the global representation of the situation for each actor. This model is developed in cognitive and semiotic approaches. The notions of texte-à-voir, texte-écrit and texte-lu are introduced.

   Scott Rettberg - 28.06.2013 - 17:02

10. Lines for a Virtual T[y/o]pography: Electronic Essays on Artifice and Information

    This dissertation is comprised by five interrelated electronic essays (plus a VRML installation) on artifice, information, and aesthetics. Each essay has been conceived as an intervention in the current critical discourse of new media studies. The essays oscillate loosely between the twin graphical themes of typography and topography, evoking what a recent writer in ArtByte magazine has called (in another context) "a vast network of dislocated visual events." The first essay, "A White Paper on Information," argues for a fundamental shift in the nature of information in the midst of our current "Information Age," a shift recognizing information (data) as a historically and epistemologically distinct category of representation; this shift, I argue, is a direct result of the rise (since the mid-eighties) of computer graphics and information design as leading-edge research areas in computer science.

    Patricia Tomaszek - 29.06.2013 - 01:22

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