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1. Interview with Dene Grigar

   Interview with Dene Grigar

   Astrid Ensslin - 06.06.2018 - 20:04

2. Immersion in Digital Fiction: A Cognitive, Empirical Approach

   Immersion in Digital Fiction: A Cognitive, Empirical Approach

   Astrid Ensslin - 06.06.2018 - 20:10

3. Virtual Reality Literature: Examples and Potentials

   Important piece by @MezBreezeDesign on @TheWritPlatform about creating #elit and #digitalfiction in the #VR space.

   - Kate Pullinger

   mez breeze - 11.08.2018 - 23:43

4. Three Entrances

   This talk will link a discussion of the interface to the representation of fictional entrances in narratives. In the effort to keep it within the time limit, it is build around three images of the entrance: the moment in Colson Whitehead’s The Underground Railroad when the fantastical, titular train first appears in the novel, Alexander Galloway’s treatment of our interface on the fictional world of Norman Rockwell’s Triple Self-Portrait, and the opening few “rooms” of the 1976 Colossal Cave Adventure, a classical electronic narrative that pioneered the text-based interface on the textual world that defined interactive fiction.

   The goal of this talk will be to investigate the concept of the interface as a term that can travel between the design of the artifact (digital, written, or visual text) and the world represented. Galloway provides an account of the politics of the interface, and I will explore how that account explains these three very different texts.

   Daniel Punday - 13.08.2018 - 20:38

5. UI Time and the Digital Event

   UI Time and the Digital Event

   Daniel Punday - 13.08.2018 - 20:40

6. The Edinburgh Companion to Contemporary Narrative Theories

   The Edinburgh Companion to Contemporary Narrative Theories

   Daniel Punday - 13.08.2018 - 20:44

7. What Natural Language Generation Means for Authorship and Why We Should Care

   Natural language generation (NLG) – the process wherein computers translate data into readable human languages – has become increasingly present in our modern digital climate. In the last decade, numerous companies specialising in the mass-production of computer-generated news articles have emerged; National Novel Generation Month (NaNoGenMo) has become a popular annual event; #botALLY is used to identify those in support of automated agents producing tweets. Yet NLG has not been subject to any systematic study within the humanities.

   leahhenrickson - 13.08.2018 - 21:09

8. Butterflies, Busy Weekends, and Chicken Salad: Genetic Criticism and the Output of @Pentametron

   Textual analysis places great emphasis on determining the development and direction of authorial intention to illuminate a text’s layers of meaning. How, though, is one to determine the development of authorial intention in a text that appears to remove the traditional human author? This paper explores issues of authorship presented to genetic criticism (critique génétique) by algorithmically-produced texts – that is, texts produced through programmed logic in a computer rather than through direct human agency – such as those of the Twitter bot Pentametron (twitter.com/pentametron). This paper considers the perceived importance of authorship and human agency in the creation of a text. Algorithmic texts challenge contemporary notions of textual creation and development, in turn posing challenges to genetic criticism that are similar to those posed by cut-up texts in other media.

   leahhenrickson - 13.08.2018 - 21:18

9. The Policeman's Beard is Algorithmically Constructed

   Racter poses virtually no threat to human authors, nor does any other algorithmic author currently available. The question is hence not one of replacement, but of augmentation, of new responsibilities for the human author in light of the algorithmic one. When Juhl writes that computer-generated output lacks the intentionality of a text with a human author, he falls into a similar trap as Bök: both scholars fail to recognise the fundamentally human basis of algorithmic authorship. Human intention hasn’t disappeared, but is merely manifest in a new way. Indeed, The Policeman’s Beard’s apparent randomness is a rhetorical choice, and Racter’s nonsensical output pushes the limits of creativity by means of an intentional goal to be incomprehensible.

   leahhenrickson - 13.08.2018 - 21:48

10. Canon Goes Mobile: Ludosemiotics of Remediation

    Modern forms of literature frequently question our reading habits, and provoke us to re-define the act of reading and the book form. The “magic” of the book, described by Bezos as its ability to be an invisible device that disappears in the reader’s hands, permitting them to enter a story-world, is nowadays replaced by the “real magic” of non-invisible interfaces. The latest manifestations of these interfaces invite us to do things we usually do not do while reading: to touch, to shout, or to shake the device. In the other words, our reading becomes a very sensual and corporeal action and our “reading behaviour” is important for discovering the meaning of the work. That’s why we need a revision of poetics (Simanowski 2009), like Bouchardon’s theory of gestural manipulation as a literary figure (2014). 

    Scott Rettberg - 29.08.2018 - 14:56

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