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1. 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

2. about machine poetry. a manifesto for the destruction of poets

   A manifesto on the polictics of machine poetry, its poetics, and a bit ons its creators.

   Patricia Tomaszek - 09.10.2012 - 23:50

3. Da poiésis digital de André Vallias

   Talvez seja a poiésis, a raiz primordial da poesia, precisamente, seu mais futuro horizonte. O lado mais promissor na sua inveterada crise com a palavra, que não com o sentido do indizível, já que este é seu moto-perpétuo: inventar sempre uma linguagem para aquilo que não tem (poesia ñ importa o q), ou melhor, criar uma semântica que amplia a linguagem. Sabedor disso, André Vallias prática, há mais de uma década, um grau de exploração poética que se estende mais do que pela multiplicação de campos e gêneros, pela sua estreita interface, pela sua contaminação in crescendo. De tal forma, que toda a sua produção visual – um amplo leque onde haveria que inscrever sites ou trabalhos de encomenda – apresenta uma configuração de vasos comunicantes, tão plurais e multi-direcionais quanto intertextualizadores, onde os códigos de todo tipo (verbais, sonoros, numéricos, espaciais, etc.) se abismam em sua atração comum de poiésis. De abissalidade virtual e conceitual de outra materialidade (softwares, programas, produção computacional), numa progressiva digitalização de informações audiovisuais que fazem parte da nova “ecologia do sensível” (Paul Virilo).

   Luciana Gattass - 29.11.2012 - 16:34

4. Expressive Processing: On Process-Intensive Literature and Digital Media

   Most studies of digital media focus on elements familiar from traditional media. For example, studies of digital literature generally focus on surface text and audience experience. Interaction is considered only from the audience's perspective. This study argues that such approaches fail to interpret the element that defines digital media -- computational processes. An alternative is proposed here, focused on interpreting the internal operations of works. It is hoped that this will become a complement to (rather than replacement for) previous approaches. The examples considered include both processes developed as general practices and those of specific works. A detailed survey of story generation begins with James Meehan's Tale-Spin, interpreted through "possible worlds" theories of fiction (especially as employed by digital media theorists such as Marie-Laure Ryan). Previous interpretations missed important elements of Tale-Spin's fiction that are not visible in its output.

   Scott Rettberg - 13.12.2012 - 16:50

5. New narrative pleasures? A cognitive-phenomenological study of the experience of reading digital narrative fictions

   Thesis for the degree doctor artium. EXCERPT FROM INTRODUCTION: This dissertation aims to address – and answer – some of the questions surrounding the ways in which the interface of the digital computer (also known as the GUI) is impacting how we experience – read – GUI narrative fictions. In my view, questions such as these are of utmost importance if we are to appropriately understand how digital technology is affecting central realms of human existence, such as our experiences of the fictions that are created and displayed in an ever increasing variety of media materialities and technological platforms. The main research questions to be dealt with in the following revolve around processes typically taking place when we read, watch, listen, experience, interpret, are engaged in, and interact with, digital hypermedia narrative fictions – what I, for the sake of simplicity, call GUI fictions. In short, how do we read GUI fictions? How, and why, is this reading different from our reading of narrative fiction in print, or of reading narrative fictions on other screens, such as on TV or in a movie theater?

   Jill Walker Rettberg - 13.12.2012 - 21:28

6. I, Chatbot: The Gender and Race Performativity of Conversational Agents

   Amidst the various forms of electronic literature stands a class of interactive programs that simulates human conversation. A chatbot, or chatterbot, is a program with which users can “speak,” typically by exchanging text through an instant-messaging style interface. Chatbots have been therapists, Web site hosts, language instructors, and even performers in interactive narratives. Over the past ten years, they have proliferated across the Internet, despite being based on a technology that predates the Web by thirty years. In my readings, these chatbots are synedochic of the process by which networked identities form on the Internet within the power dynamics of hegemonic masculinity. Chatbots, in this light, model the collaborative performance humans enact on electronically-mediated networks.

   Scott Rettberg - 14.12.2012 - 01:12

7. I, Apparatus, You: A Technosocial Introduction to Creative Practice

   In 2001, Florian Cramer wondered whether ‘the theoretical debate of literature in digital networks has shifted... from perceiving computer data as an extension and transgression of textuality (as manifest in such notions as ‘hypertext’, ‘hyperfiction’, ‘hyper-/multimedia’) towards paying attention to the very codedness–that is, textuality–of digital systems themselves' (Cramer, 2001). I want to extend this focus on the codedness of computer-based textuality into a technosocial ‘phenomenology’ of the text-as-apparatus. These texts cannot be understood separately from the apparatus that displays and performs them. ‘Trilogical’ relationships exist between humans and apparatuses that are revealed during the performance of the text-as-apparatus. The trilogue acknowledges the apparatus as an entity that, while lacking consciousness, possesses a pseudo-agency with ramifications for the interpretations of such texts. The result is new types of creative relationships, in which different concepts of language compete, and hopefully combine, to create new types of meaning.

   Jeneen Naji - 08.01.2013 - 16:36

8. The Gutenberg Elegies: The Fate of Reading in an Electronic Age

   The Gutenberg Elegies: The Fate of Reading in an Electronic Age

   Scott Rettberg - 14.01.2013 - 14:24

9. A homecoming festival : the application of the dialogic concepts of addressivity and the awareness of participation to an aesthetic of computer-mediated textual art

   A homecoming festival : the application of the dialogic concepts of addressivity and the awareness of participation to an aesthetic of computer-mediated textual art

   Scott Rettberg - 20.01.2013 - 00:01

10. Bodies in Code

    "Bodies in Code explores how our bodies experience and adapt to digital environments. Cyberculture theorists have tended to overlook biological reality when talking about virtual reality, and Mark B. N. Hansen's book shows what they've been missing. Cyberspace is anchored in the body, he argues, and it's the body--not high-tech computer graphics--that allows a person to feel like they are really "moving" through virtual reality. Of course these virtual experiences are also profoundly affecting our very understanding of what it means to live as embodied beings. 

    Hansen draws upon recent work in visual culture, cognitive science, and new media studies, as well as examples of computer graphics, websites, and new media art, to show how our bodies are in some ways already becoming virtual."

    (Source: Publisher website)

    Elisabeth Nesheim - 15.05.2013 - 12:18

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