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1. Deeper into the Machine: The Future of Electronic Literature

   N. Katherine Hayles's keynote address for the 2002 State of the Arts Symposium at UCLA. Hayles identifies two generations of electronic literature: mainly text-based works produces in Storyspace and Hypercard until about 1995-1997, and second-generation works, mainly authored in Director, Flash, Shockwave and XML in years after that. She identifies second-generation works as "fully multimedia" and notes a move "deeper into the machine." She then reads a number of second-generation works in the context of their computational specificity.

   Publication note: Also published online in Culture Machine Vol. 5 (2003)

   Scott Rettberg - 30.05.2011 - 12:38

2. Dissonance in Multi-Semiotic Landscapes in the Work Of Donna Leishman

   I come to the field of digital literature from the position of a visual artist. My formative training in illustration grounded an interest in sequential art and literary themes. My work draws on literary subject matters, contains chronological cause and effect, and strongly features protagonists. I am a thematic recycler similar to that described by H. Wozniak (2008) a re-framer of often folkloric motifs - with an aim to renew, revitalises, or debunk, the pre-existing content. Visuality, the auteur interface, and folk narratives are fundamental features in the communication of my aesthetic. How then these aspects function and their importance in terms creating a meta dissonance will be detailed and discussed in the paper, with reference to how such an approach sits within the context of interactive literary art.

   Patricia Tomaszek - 12.08.2011 - 15:59

3. Navigating the Borders—Edges and Interfaces

   Commentary on the panel "Navigating the Borders—Edges and Interfaces" at the 2002 Electronic Literature Symposium: State of the Arts, organized by the Electronic Literature Organization and hosted by the University of California at Los Angeles (UCLA). Stuart Moulthrop moderated the panel, which featured Lev Manovich, Raine Koskimaa, Kate Pullinger, and Diana Slattery. 

   Patricia Tomaszek - 25.08.2011 - 15:23

4. The Machine in the Text, and the Text in the Machine

   "The Machine in the Text, and the Text in the Machine" is a review essay on Electronic Literature: New Horizons for the Literary (Notre Dame, IN: University of Notre Dame, 2008), by N. Katherine Hayles, and Mechanisms: New Media and the Forensic Imagination (Cambridge, Mass.: MIT Press, 2008), by Matthew G. Kirschenbaum. Both works make remarkable contributions for the emerging field of digital literary studies and for the theory of digital media. While Hayles analyses the interaction between humans and computing machines as embodied in electronic works, Kirschenbaum conceptualizes digitality at the level of inscription and establishes a social text rationale for electronic objects.

   (Source: DHQ)

   Eric Dean Rasmussen - 13.09.2011 - 14:23

5. 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

6. Strange Rain and the Poetics of Motion and Touch

   Mark Sample provides a close-reading of one work that takes advantage of the “interface free” multitouch display: released in the last year, “Strange Rain” is an experiment in digital storytelling for Apple iOS devices (the iPhone, iPod Touch, and iPad) designed by new media artist Erik Loyer.

   Eric Dean Rasmussen - 05.10.2011 - 09:56

7. Seven Types of Interface in the Electronic Literature Collection Volume Two

   Seven Types of Interface in the Electronic Literature Collection Volume Two

   Eric Dean Rasmussen - 05.10.2011 - 10:16

8. The Effects of Software on the Digital Creative Process

   The Effects of Software on the Digital Creative Process

   Scott Rettberg - 06.10.2011 - 14:09

9. Third Hand Plays: "Scrape Scraperteeth" by Jason Nelson

   Third Hand Plays: "Scrape Scraperteeth" by Jason Nelson

   Eric Dean Rasmussen - 21.10.2011 - 10:27

10. 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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