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Making the World Safe for Fashionable Philosophy!
A discussion of the film, The Matrix in the context of the future of books, the aestheticization of coding, and the insistence of the analog. Appears online in CTheory and in Life in the Wires: The CTheory Reader.
Joe Milutis - 22.01.2012 - 20:58
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The Pleasure Principle: Immersion, Engagement, Flow
While few critics writing on readers and hypertext have focused on the affective pleasures of reading hypertext fiction or interactive narratives like Myst, those who assess the experience of reading them tend to assume interactive texts should be either immersive or engaging. This study uses schema theory to define the characteristics of immersion and engagement in both conventional and new media. After examining how readers' experiences of these two different aesthetics may be enhanced or diminished by interface design, options for navigation, and other features, the essay concludes by looking beyond immersion and engagement to “flow, ” a state in which readers are both immersed and engaged.
Source: ACM Publication
Paper presented at the Eleventh ACM on Hypertext and Hypermedia Conference and published in the proceedings.Patricia Tomaszek - 25.03.2012 - 14:12
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Proposal for a Universal Electronic Publishing System and Archive
Excerpt from chapter 2 of Literary Machines. Susalito, CA: Mindful Press, 1981.
Eric Dean Rasmussen - 14.05.2012 - 15:34
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Principles and Processes of Generative Literature
Generative literature, defined as the production of continuously changing literary texts
by means of a specific dictionary, some set of rules and the use of algorithms, is a very
specific form of digital literature which is completely changing most of the concepts of
classical literature. Texts being produced by a computer and not written by an author
require indeed a very special way of engrammation and, in consequence, also point to
a specific way of reading, particularly concerning all the aspects of the literary time. In
my paper, I will try to present some of the characteristics of generative texts and their
consequences for the conception of literature itself.
I call “engrammation” the adaptation of choices of expression to the technical constraints
of the medium used for its mediatization. For instance, a book needs a fixed writing,
and the mediatization by means of a screen needs other modalities of presentation.Source: author's abstract
Kjetil Buer - 31.08.2012 - 11:15
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E-Learning and Literary Studies - Towards a New Culture of Teaching?
The introduction of digital technologies into the learning processes has meant the creation of new educational spaces that, when they take place on the Internet and are founded in non-presence and asynchrony, are known as “Virtual Learning Environ- ments” (VLE). VLE constitute new pedagogic realities that must answer to the users’ needs, their educational purposes, the curricula with which they work and, specifically, the formative needs for the people that integrate them. But the key to define “virtual” in terms of human experience and not in terms of technological hardware is the concept of “presence,” which is crucial in our pedagogical model and our way of being comparative literature lecturers in a virtual university. Technologies are tools capable of building a learning frame, although it is necessary to endow them with contents and humanity. Different voices have warned of the sterility of a technological environment that does not have any pedagogic or didactic specificity (different from the traditional models). After all, learning is learning whether it has an ex- tra “e” or not, and so VLE are only as good or as bad as the ways they are used.
Helene Helgeland - 06.09.2012 - 15:47
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Event-Sequences, Plots and Narration in Computer Games
Opening with the debate between ludologists and narratologists this essay tries to show that there is a narrative aspect in computer games that has nothing to do with background stories and cut scenes. A closer analysis of two sequences, taken from the MMORPG Everquest II and the adventure game Black Mirror, is the basis for a distinction between three aspects of this kind of narrative in computer games: the sequence of activities of the player, the sequence of events as it is determined by the mechanics of the game and the sequence of events understood as a plot, that is as a sequence of (chronologically) ordered and causally linked events. This kind of narrative is quite remote from the proto- typical narrative serving as a source for most narratological considerations. All media and not only computer games therefore actually need their own narratology.
Source: author's abstract
Kristine Turøy - 06.09.2012 - 18:55
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Humor — Technology — Gender, Digital Language Art and Diabolic Poetics
This essay argues that the poetic turn from nothing to form art tends to “diabolic”
strategies in present language allowing for a self-referential presentation of cultural distinctions.
This poetic deconstruction of symbolic forms such as man/machine, male/female,
or 0/1 is closely related to humor and gender in cultural and artistic performances.
This shall be illustrated by discussing two examples of language art in the fi eld of digital
electronics: the interactive installation Die Amme by Peter Dittmer and female extension, a
subversive net art project by Cornelia Sollfrank. These projects are interpreted as gendered
forms of the poetic as comic self-observation.Source: author's abstract
Hannelen Leirvåg - 07.09.2012 - 07:35
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Poesia [DIGITAL]: Ars Combinatória
Poesia [DIGITAL]: Ars Combinatória
Luciana Gattass - 09.10.2012 - 11:19
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Why Fi? Fidelidade 4k na Cidade Escalonável
Why Fi? Fidelidade 4k na Cidade Escalonável
Luciana Gattass - 23.10.2012 - 15:48
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Jogos e Vida: a Emergência do Lúdico na Cibercultura
Jogos e Vida: a Emergência do Lúdico na Cibercultura
Luciana Gattass - 23.10.2012 - 16:05
