Search

The search found 156 results in 0.011 seconds.

Search results

1. Narrative Archaeology and the New Narrativology

   To reconsider narrative and its relationship to new media one must look at the spatial possibilities and rich subtext already present in the cities and roads away from hypertext and screen specific data forms. The majority of work dealing with gps is emphasizing the leaving of traces, of another layer to enhance. This misses a huge area of potential. The city spaces can now be "read" in all the layers of architecture, ethnography, layers of land usage, and the narratives of people lost in time. Writing can become one of a story space constructed of fictive detail to establish story space AND the details of the steets and buildings themselves and their details (much of which is unkown to most who pass them). Juxtaposition, experiential metaphor, a sense of not V.R with one still in one world in active in another as story space, but active in both. The new writing form creates a new sense of detail and metaphor as well as of process itself, with many exciting new possibilities.

   (Source: Author's abstract, Incubation3 conference, trAce Archive)

   Scott Rettberg - 19.01.2013 - 23:39

2. Would you let Mikhail Bakhtin smoke your text? : Dialogism and the Participative Rhetoric of Computer-mediated textual art

   In Stewart's presentation he will set out his theoretical understanding of computer-mediated textuality (an understanding that is derived from the dialogic philosophy of language described by Mikhail Bakhtin and others).

   In particular, he will report on how his research has identified a number of different rhetorical practices used by contemporary author-participants of computer-mediated textual art that focus on making readers actively aware of their participation in the work. He has classified these forms of rhetoric in the following ways:- 
   1. Active Participation of the Reader-Participant through Selection; 
   2. Active Participation of the Reader-Participant through Contribution; and
   3. Participation of the Reader-Participant by their Presence;

   Stewart will illustrate these three types of rhetoric, by drawing examples in the recent work of Simon Biggs, Talan Memmott, and Alan Sondheim, as well as from his own work 'gas' (developed at Textlab 2003).

   He will conclude by noting that a dialogic understanding of computer-mediated textuality flags up the significant cultural value of these works.

   Scott Rettberg - 19.01.2013 - 23:52

3. Cavewriting

   Push aside the thick, dark curtain, step across the cables on the floor and you'll find yourself standing on a white floor with white screens in front of you and to each of your sides. Above you are projectors and speakers. You're given a pair of goggles and a glove. You put them on and wait for Screen to begin. The space darkens. A voice begins to read: "In a world of illusions, we hold ourselves in place by memories." In the dark there is nothing for you to do but listen.

   Screen is a literary work that can only be experienced in a Cave. In a Cave, images -- or in the case of Screen, words -- are projected on all three walls and on the floor. When you stand in the Cave wearing goggles, you experience the projected images as a three dimensional space in which you can move around. The goggles and glove allow the Cave to track your position, so you can control the environment by moving your body and your hand.

   Light over the sill of an unshaded
   bedroom window, into a woman's eyes.
   She turns away, slips half back under sleep.

   Scott Rettberg - 28.01.2013 - 00:51

4. Hipertext olvasás

   Hipertext olvasás

   Patricia Tomaszek - 25.02.2013 - 14:50

5. Gang i Norden

   Morten Søndergaard har begået et udkast til en komparativ analyse af de nordiske gangarter. Udgangspunktet er de små gående mænd (og en enkelt kvinde) på de respektive landes forgængerskilte - fra den danske bodysnatcher til artikelforfatterens klare favorit: den norske hitmand.

   Sissel Hegvik - 16.04.2013 - 23:06

6. Miniatureskrift og andet uendeligt småt

   Såvel religiøse lærde som forfattere og billedkunstnere har eksperimenteret med at formindske skriften til ulæselighed. Den mikrografiske kunst gemmer på en hemmelighed. Karen Wagner forfølger mikrografien op gennem historien, fra den jødisk bogkunst, hvor det vrimler med kalligrammer, “carpet pages” og sefardiske arabesker frem til Robert Walsers tætte krat af sætningsguirlander, Gary Gisslers godt skjulte tekster og cyberkunstens Institut for Uendeligt Små Ting.

   Sissel Hegvik - 20.04.2013 - 17:13

7. Towards a Poetics of Multi-Channel Storytelling

   In 2001 Henry Jenkins discussed the growing prevalence of ‘transmedia storytelling’. Transmedia storytelling is, simply put, franchises: a movie is followed by a game, then perhaps a comic, website and so on. An example is the Wachowski brother’s Matrix franchise. For Jenkins each media, each channel, communicates different aspects of a storyworld. Since 2003 Jane McGonigal, and others, have been researching the phenomenological and social aspects of ‘alternate reality gaming’. Alternate reality gaming requires players to traverse websites, games, public play, SMS and so on. Microsoft’s The Beast was the first of such ‘games’ that required participation with websites, posters, faxes, hacking, chatbots and Spielberg’s film AI (McGonigal, 2003).
   Academic research into multi-channel storytelling is at present approached from the media studies and phenomenological perspective. As yet no poetics to address transmedia, alternate reality gaming, cross- or multi-platform and cross-media of content have been proposed in academia; in addition no poetics has been invented for multi- channel single-story creation (that is: one story told over multiple media).
   

   Jill Walker Rettberg - 12.06.2013 - 15:10

8. Networked Narrative Environments as Imaginary Space of Being

   Networked Narrative Environments as Imaginary Space of Being

   Jill Walker Rettberg - 12.06.2013 - 15:18

9. A Preliminary Poetics for Interactive Drama and Games

   Interactive drama has been discussed for a number of years as a new AI-based interactive experience (Laurel 1986; Bates 1992). While there has been substantial technical progress in building believable agents (Bates, Loyall, and Reilly 1992; Blumberg 1996, Hayes-Roth, van Gent, and Huber 1996), and some technical progress in interactive plot (Weyhrauch 1997), no work has yet been completed that combines plot and character into a full-fledged dramatic experience. The game industry has been producing plot-based interactive experiences (adventure games) since the beginning of the industry, but only a few of them (such as The Last Express) begin to approach the status of interactive drama. Part of the difficulty in achieving interactive drama is due to the lack of a theoretical framework guiding the exploration of the technological and design issues surrounding interactive drama. This paper proposes a theory of interactive drama based on Aristotle's dramatic theory, but modified to address the interactivity added by player agency.

   Scott Rettberg - 25.06.2013 - 14:39

10. Towards a Poetics of Virtual Worlds. Multiuser Textuality and the Emergence of Story

    Towards a Poetics of Virtual Worlds. Multiuser Textuality and the Emergence of Story

    Scott Rettberg - 26.06.2013 - 11:26

Pages