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1. Storyworlds we never leave: long-form interactive narratives, Google Glass and new audiences

   Over the past year I have been exploring the creation and reception of dense, spatialized augmented reality novels that can be experienced via optical see-through glasses, like Goggle glass or Meta -- displays that finally allow a spectator/reader/viewer to wander hands-free though poems and secrets and dreamscapes while they also see and experience the analogue world.

   I am interested in the idea that spatialized AR novels will be explored over days or weeks, not hours, with a granularity and density of text that we have not yet seen in in situ or mobile works - a new generation of electronic writing that combines the density of a novel alongside the rich linkages and possibilities for re-reading promised by early hypertext combined with the potent poetics of the interplay between real and fictional worlds and the bodies walking through them.

   Thor Baukhol Madsen - 13.02.2015 - 10:57

2. Text Under Glass: The Place of Writing within Interactive Objects

   This presentation explores the theoretical implications of the ways in which text is used within
   interactive glass objects. As car windshields, kitchen counters, bathroom mirrors, restaurant
   tabletops, and other glass surfaces are increasingly wired to respond to human touch, how does
   this change our perception of the text housed therein and what stories does this text tell us about
   the state of interactive objects?

   Thor Baukhol Madsen - 13.02.2015 - 11:16

3. On the Possibility of a Text That Is Not Digital

   This twenty-minute paper builds toward the following provocation: it is no longer possible for a text not to be digital. Considering both existing and invented definitions of digital textuality, this paper frames (again!) various discussions of the nature of digital (and "electronic) texts, examining in digital texts their materialities and temporalities, their associated modes of composition and reception, their most evident differences from traditional texts, and their claims to both digital-ness and to textuality. Selecting key features from this analysis, I conclude that the digitalness of a text relates to the way in which it opens (and closes) certain possibilities of reading and other actions. Google's Book project, numerous digital library efforts, and even devices for digitizing business cards attest to the drive to make all texts digital. But, I suggest, even beyond these current events, we have come to understand the very idea of a text already in terms of its possibilities and thus as already digital or potentially digital. What room is left for another, non-digital notion of textuality to present itself?

   (Source: Author's introduction)

   Thor Baukhol Madsen - 17.02.2015 - 15:05

4. Rereading and the SimCity Effect in Electronic Literature

   Rereading, the act of going back and reexperiencing a text, is often seen as one
   possible measure of the quality of a literary text. However, what it means to
   reread a work of electronic literature, particularly one that responds procedurally
   to reader actions, is not clear (Mitchell and McGee, 2012). One particular
   way that readers reread print literature is what Calinescu (1993) refers to as
   reflective rereading, which involves “a meditative or critically inquisitive revisiting
   of a text one has already read” (Calinescu, 1993, p. 277). In this paper we
   argue that, in electronic literature, reflective rereading can involve examining
   the surface of an interactive work which one has already read, with the aim
   of gaining a deeper understanding and appreciation of how the underlying system
   functions and how this internal structure relates to the surface experience
   of the work. We draw parallels between this form of reflective rereading and
   Wardrip-Fruin’s “SimCity Effect”, which he describes as being present in “systems
   that shape their surface experience to enable the audience to build up an
   

   Daniela Ørvik - 17.02.2015 - 15:34

5. Stories of Stigma and Acceptance

   People categorize each other in many avenues of our lives; these categories also play out in our
   fictions and games. For example, within role-playing games (RPGs), racial categorization is
   often used to trigger reactions when conversing with non-player characters (NPCs). However, in
   most such narratives, category membership is determined in a simplistic fashion in which
   members are slotted into boxes with no possibility for identities moving between the center or
   the margins social groups. These deficiencies are particularly visible when trying to create
   expressive stories that can evoke nuanced phenomena such as social stigma. This paper
   presents our steps toward enabling interactive narratives more aligned with the social critiques
   by writers such as Octavia Butler or Samuel R. Delany than the uncritical play of identity in
   many mainstream computer role-playing games.
   We implemented the Chimeria1 platform to model social categorization phenomena including
   the movement of members within and across social categories [1]. By implementing a system
   

   Marius Ulvund - 17.02.2015 - 15:46

6. Beyond the Googlization of Literature: Writing Other Networks

   It's true, poets have been experimenting with producing writing (or simply writing, just writing of a sort not familiar to us - writing as input and writing as choosing) with the aid of digital computer algorithms since Max Bense and Theo Lutz first experimented with computer-generated writing in 1959. What is new and particular to the 21st century literary landscape is a revived interest in the underlying workings of algorithms, not just a concern with the surface-level effects and results that characterized much of the fascination in the 1970s and 1980s with computer-generated writing. With the ever-increasing power of algorithms, especially search engine algorithms that attempt not just to "know" us but to in fact anticipate and so shape our every desire, our passive acceptance of these algorithms necessarily means we cannot have any sense of the shape and scope of how they determine our access to information, let alone shape our sense of self which is increasingly driven by autocomplete, autocorrect, automata.

   Daniela Ørvik - 17.02.2015 - 15:47

7. The Eternal Sunshine of the Spotless Screen: Digital Fiction and the Mind/Machine Problem

   In 21st century philosophy of mind, the mind/body problem shares center stage with what
   we might call the – equally intractable but arguably more urgent – mind/machine problem.
   No doubt informed by the rationalist legacy of Cartesian dualism, its continuum of concerns
   moves from better understandings and explanations of our cognitive apparatus with
   recourse to computer technology to, in its most extreme iteration, the project of formalizing
   and abstracting the (software) program of the mind for use in other, similarly
   “computational” media.

   Thor Baukhol Madsen - 17.02.2015 - 15:51

8. Mapping the Convergence of Networked Digital Literature and Net Art onto the Modes of Production

   In this paper I argue that the restrictions imposed by technological barriers within select forms of digital literature and net art are cause for the success of these works from the early internet to the present—the technological restrictions themselves guided their formulation. Arguably, the
   constraints create the aesthetic context in which the works thrive, while the artist figure
   transforms into mechanical producer.
   

   Magnus Lindstrøm - 17.02.2015 - 15:53

9. Examining the Role of Micronarrative in Commercial Videogames, Art Games and Interactive Narrative

   Integrating story with games in a flexible way that gives interactors meaningful choices within a narrative experience has long been a goal of both game developers and digital storytellers. The "micronarrative" is an unexplored avenue of narrative structure that can be a useful tool in analysis and design of such experiences. A micronarrative is a smaller moment of plot coherence and miniature arc that is nested within a larger narrative structure. The concept was first labeled by Jenkins in 2004 in the context of a game's "meaningful moments" and expanded upon in Bizzocchi's 2007 analytical framework for videogame storytelling. It has its roots in earlier examinations of arc and scale, such as Propp's concept of "Functions" or McKee's "Beats" in literature, as well as in Barthes’ classification of a “hierarchy of levels or strata” which incorporates “micro-sequences” as described in his structural analysis of narrative (1975).

   Daniela Ørvik - 17.02.2015 - 15:57

10. The Riderly Text: The Joy of Networked Improv Literatur

    This essay aims to discuss literary pleasure, new media literacy, and
    the Networked Improv Literature (Netprov). In particular, the author
    will discuss the challenges of “close-reading” the Speidishow, a
    Netprov enacted via Twitter (and a constellation of supplementary
    web-based media) over a period of several weeks. In the process of
    trying to understand the dynamics of reading on Twitter, the author of
    this essay created a Twitter account, @BrutusCorbin, and consulted
    with the writers about the plot structure. Through active engagement
    with the fictional world, Corbin quickly became embroiled in a
    sub-plot. Seeking distance from the active plots which Corbin was
    involved in, his author created two new characters, @FelixMPastor and
    @FrannyCheshire, to explore different aspects of the fictional world.
    Pastor and Cheshire were subsequently dragged into the story, as well.
    This piece will dig into the concept of the “readerly” and “writerly”
    text as identified by Roland Barthes in S/Z and The Pleasure of the
    Text and settle on a third term: “the riderly text.”

    Sumeya Hassan - 17.02.2015 - 15:59

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