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1. Intertextuality in Digital Poetry

   Despite postmodern and deconstructivist studies in the field, interxtuality is still often viewed as a process of textual closure: in that vision a text refers to an older text, and once we have found the source, the intertextual interpretation is completed.

   Riffatterre, for example, seems to suggest this in his article ‘Intertextuality vs Hypertextuality’ (1994). Riffaterre stated here that intertextuality and hypertextuality should be distinguished, since the former is finite, while the latter is infinite. He defines hypertextuality as ‘the use of the computer to transcend the linearity of the written text by building an endless series of imagined connections, from verbal associations to possible worlds, extending the glosses or the marginalia from the footnotes of yesteryear to metatexts’ (Riffaterre 1994: 780) Intertextuality, on the other hand, ‘depends on a system of difficulties to be reckoned with, of limitations in our freedom of choice, of exclusions, since it is by renouncing incompatible associations within the text that we come to identify in the intertext their compatible counterparts’ (ibid: 781).

   Eric Dean Rasmussen - 27.01.2011 - 17:01

2. The Role of the Reader in Performative Digital Poetry

   The object of digital poetry has been claimed to be the process initiated by the user and therefore dynamic. What is processed and made visible on screen is what Philippe Bootz (2007) calls the “texte-à-voir”, what we are given to see and what is only a selection of the underlying artwork. For digital poetry the processes executed by a programming language is the material the artist uses. Following Burgaud (2006) the user is “reading a process”. With the focus on the processes instead of the “object” the description and analysis of digital poetry is facing the problem that what the reader can see on the screen is not enough to understand the art work. Especially the change from a conceptual verbal art read in front of a computer screen mostly by an individual reader to installation art, caves to performances on stage including text, music, and dance and to performances in virtual environments such as Second Life ask for descriptions that are able to deal with the dynamics of those processes.

   Eric Dean Rasmussen - 02.02.2011 - 15:09

3. The 2005 Association of Internet Researchers Annual

   The 2005 Association of Internet Researchers Annual

   Jill Walker Rettberg - 02.02.2011 - 21:52

4. For Thee: A Response to Alice Bell

   In an essay that responds to Alice Bell's book The Possible Worlds of Hypertext Fiction (Palgrave Macmillan, 2010), Stuart Moulthrop uses the lessons of hypertext as both an analogy and an explanation for why hypertext and its criticism will stay in a "niche" - and why, despite Bell's concern, that's not such a bad thing. As the response of an author to his critic, addressed to "thee," "implicitly dragging her into the niche with me," this review also dramatizes the very productivity of such specialized, nodal encounters.

   Eric Dean Rasmussen - 03.02.2011 - 11:01

5. Digital Orientalism: Japan and Electronic Literature

   Digital Orientalism: Japan and Electronic Literature: Alice Ferrebe
   In their 1995 essay ‘Techno-Orientalism: Japan Panic’, David Morley and Kevin Robins examined the contemporary construction of Japan as a potent and threatening Other, inscrutably encroaching upon the West through precocious technological genius and insidious business practices. For Japanophobes, they claimed, ‘the unpalatable reality is that Japan, that most Oriental of Oriental cultures, as it increasingly outperforms the economies of the West, may now have become the most (post)modern of all societies’. Of course, this imagining of Japan as the land of the future (a frequent cyberpunk strategy) stands in contrast to the more traditional Orientalist vision of the nation as a repository for the ancient and exotic – the Japan of an alien, exquisite aesthetic and of arcane martial practices, pre-modern rather than postmodern.

   Eric Dean Rasmussen - 12.02.2011 - 18:21

6. L’avventura è l’avventura

   Italian blog about interactive fiction.

   Jill Walker Rettberg - 18.02.2011 - 15:01

7. Interactive Fiction? I prefer Adventure

   Interview with Don Woods about how he built upon Will Crowthers Colossal Cave Adventure in 1976, making it more game-like.

   Jill Walker Rettberg - 18.02.2011 - 15:03

8. Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original "Adventure" in Code and in Kentucky

   Because so little primary historical work has been done on the classic text computer game "Colossal Cave Adventure", academic and popular references to it frequently perpetuate inaccuracies. "Adventure" was the first in a series of text-based games ("interactive fiction") that emphasize exploring, puzzles, and story, typically in a fantasy setting; these games had a significant cultural impact in the late 1970s and a significant commercial presence in the early 1980s. Will Crowther based his program on a real cave in Kentucky; Don Woods expanded this version significantly. The expanded work has been examined as an occasion for narrative encounters [Buckles 1985] and as an aesthetic masterpiece of logic and utility [Knuth 1998]; however, previous attempts to assess the significance of "Adventure" remain incomplete without access to Crowther's original source code and Crowther's original source cave. Accordingly, this paper analyzes previously unpublished files recovered from a backup of Woods's student account at Stanford, and documents an excursion to the real Colossal Cave in Kentucky in 2005.

   Jill Walker Rettberg - 18.02.2011 - 15:39

9. The Gaming Situation

   The Gaming Situation

   Jill Walker Rettberg - 18.02.2011 - 15:53

10. Framed: The Machine in/as the Garden

    Deploying what he has dubbed "the ecological thought," Timothy Morton offers a critical reading of Roderick Coover's online cinemascapes Canyonlands: Edward Abbey and the Defense of Wilderness. In the video's stark modernist form, Morton writes, "the hydroelectric engine of human progress still hums." What's needed now, he suggests, is a "Goth remix."

    (source: http://electronicbookreview.com/thread/criticalecologies/flooded)

    Eric Dean Rasmussen - 18.02.2011 - 22:07

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