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Editorial: Electronic Literature Communities, Part II
After the completion of the ELMCIP double-issue on “Electronic Literature Communities”, the international e-lit community seems to us a kind of hypertext with many intertwined threads. If Electronic Literature were a building, it would be a mansion with many rooms, many architects, and many builders – different human and computer languages could be heard pouring forth from each wing, and diverse materials and styles represented in various parts of the building, but all would share a common room at the center. Without adhering to any specific shared agenda, the communities documented here are evolving in conversation with each other. The two issues together offer many beginnings, and many histories of electronic literature which each have their own histories and trajectories and together provide a holistic impression of a field in the process of becoming.
Patricia Tomaszek - 29.04.2013 - 15:54
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Offshore of Writing: E-literature and the Island
The broad aim of this paper is to contribute to a discussion on some aspects of the relationship between e-literature, spatiality and site-specificity. The context for this particular investigation is a major initiative for the establishment and development of an Academy of New Media and Digital Arts (see below) on the Italian island of Procida, one of the three islands that sit in the Bay of Naples. Within this initiative, e-literature as both practice and community plays a central role.
One question which inevitable arises from the Procida project concerns the discrepancy between the geographical situatedness of the Academy on the one hand, and the dispersed nature of networked e-lit communities and of e-literature as a practice on the other. How will the relationship between site and network play out?
Scott Rettberg - 25.06.2013 - 14:19
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German Net Literature: In the Exile of Invisibility (cybertext yearbook)
This paper originates from a conference paper presented and published in the book collection OLE Officina di Letteratura Elettronica. The here presented paper publication appears with minor edits.
Patricia Tomaszek - 27.06.2013 - 10:59
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Lucid Mapping: Information Landscaping and Three-Dimensional Writing Spaces
This paper documents an interactive graphics installation entitled Lucid Mapping and Codex Transformissions in the Z-Buffer. Lucid Mapping uses the Virtual Reality Modeling Language to explore textual and narrative possibilities within three-dimensional (3D) electronic environments. The author describes the creative rationale and technical design of the work and places it within the context of other applications of 3D text and typography in the digital arts and the scientific visualization communities. The author also considers the implications of 3D textual environments on visual language and communication, and discriminates among a range of different visual/ rhetorical strategies that such environments can sustain.
Jill Walker Rettberg - 28.06.2013 - 13:21
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Mobile Urban Drama – Setting the Stage with Location Based Technologies
This paper introduces the novel concept of location-based Mobile Urban Dramas. In a Mobile Urban Drama the user become the main character in a play where actors’ voices appear in the mobile phone headset linked to the physical setting in the city as the stage for the drama. The paper describes the dramaturgical concept and introduces a software framework supporting drama writers in developing such Mobile Urban Dramas. Experiences with use of the framework are discussed with successful examples of real dramas that have been developed and performed by a Danish theatre group, Katapult.
[Editor's note: The paper includes are many interesting references both to locative drama and to critical writing that are not yet entered into the Knowledge Base.]
Jill Walker Rettberg - 28.06.2013 - 14:33
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Cyberspace, Cybertexts, Cybermaps
Cyberspace, Cybertexts, Cybermaps
Jill Walker Rettberg - 28.06.2013 - 15:24
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Getting Your Hands on Electronic Literature: Exploring Tactile Fictions with the Reading Glove
“Interactive narrative” is a loaded phrase that invokes different dreams for different populations of people. For new media theorists like Janet Murray (1) and Brenda (2) Laurel, it elicits visions of participatory stories enacted within immersive simulated “holodecks.” For theorists of hypertext and interactive fiction like Jay David Bolter (3) and Emily Short, (4) it suggests branching textual environments and rhizomatic tangles of linked lexia. For researchers in computer science and AI, it has manifested in simulations of believable human characters (5), and intelligent storytellers that direct the action in a simulated storyworld along desirable narrative paths (6). Within the digital games community, theorists like Henry Jenkins, (7) Celia Pearce, (8) and Jim Bizzocchi (9) suggest broad framings of narrative that allow it to infuse and enhance gameplay. Outside of academic research, interactive narrative conjures images of “Choose Your Own Adventure” novels, role-playing games, and improvisational theater.
Patricia Tomaszek - 01.07.2013 - 17:57
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Ce livre qui n'en est pas un: le texte littéraire électronique
Un texte littéraire électronique est écrit en code et ne peut exister sous forme imprimée. C’est une forme spécifique qui existe depuis la création dans les années 1970 des jeux d’aventures textuels (Willie Crowther et Don Woods, Adventure). Elle s’est développée de par l’exploitation de liens hypertextuels (Shelley Jackson, Patchwork Girl), d’éléments hypermédias, et s’oriente à présent vers la sophistication croissante des moyens mis en œuvre pour que le lecteur participe à la création de l’œuvre (Stuart Moulthrop, Pax). Le rapport entre jeux et textes reste très fort, au point que certains arguent que les jeux d’ordinateur actuels sont des œuvres littéraires électroniques. La forme est hantée par la fragilité de ses supports, et son économie semble reposer sur la gratuité.
Jill Walker Rettberg - 02.07.2013 - 15:10
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Hypertext: Merkmale, Forschung, Poetik
Die Diskussion um den Hypertext ist älter als das WWW, das, als Mega-Hypertext, seine populärste Umsetzung darstellt. Seit Theodor Holm Nelson in den 60er Jahren Hypertext als "non-linear text" bezeichnete, gab es Zeit und Raum genug für Missverständnisse. Einmal abgesehen von Gérald Genettes völlig anderem Hypertextbegriff aus den frühen 80er Jahren, bestehen Meinungsverschiedenheiten und Zweifel darin: 1. inwiefern ein intern oder extern verlinkter Hypertext als geschlossenes oder offenes Gebilde zu lesen ist; 2. inwiefern die Leser selbst im Hypertext schreiben (und somit zu Koautoren werden) oder nur vorgegebenen Links folgen (und somit für viele noch immer zu Koautoren werden) können; 3. ob die Macht des Autors im Hypertext gesunken oder gestiegen ist; 4. ob der Hypertext dekonstruktivistische Theorien umsetzt oder negiert; 5. ob computererzeugte aleatorische Texte Zukunft oder Sackgasse der Literatur im Rechner sind; 6. wie man Links semantisieren kann und 7. welches Potential der Hypertext für die Literatur besitzt. Der Beitrag greift diese Fragen auf und versucht, in einer umfangreichen Erörterung einige davon zu klären.
Jill Walker Rettberg - 03.07.2013 - 12:37
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The Idiocy of the Digital Literary (and what does it have to do with digital humanities)?
What does the category of the literary give to digital humanities? Nothing and everything. This essay considers the "idiocy" of the literary: its unaccountable singularity, which guarantees that we continue to return to it as a source, inspiration, and challenge. As a consequence, digital humanities is inspired and irritated by the literary.
My essay shows this in three ways. First, through a speculative exploration of the relation between digital humanities and the category of "the literary." Second, through a quick survey of the use of literature in digital humanities project. Thirdly, through a specific examination of TEI and character rendering as digital humanities concerns that necessarily engage with the literary. Once again, the literary remains singular and not abstract, literal in a way that challenges and provokes us towards new digital humanities work.
Scott Rettberg - 03.07.2013 - 13:00
