Storyspace 3 Mark Bernstein Eastgate Systems, Inc
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List of Different Digital Practices 3
Categories of Digital Poetics Practices (from the Electronic Literature Collection) http://collection.eliterature.org/1/ (Electronic Literature Collection, Vol 1) http://collection.eliterature.org/2/ (Electronic Literature Collection, Vol 2) Ambient: Work that plays by itself, meant to evoke or engage intermittent attention, as a painting or scrolling feed would; in John Cayley’s words, “a dynamic linguistic wall- hanging.” Such work does not require or particularly invite a focused reading session. Kinetic (Animated): Kinetic work is composed with moving images and/or text but is rarely an actual animated cartoon. Transclusion, Mash-Up, or Appropriation: When the supply text for a piece is not composed by the authors, but rather collected or mined from online or print sources, it is appropriated. The result of appropriation may be a “mashup,” a website or other piece of digital media that uses content from more than one source in a new configuration. Audio: Any work with an audio component, including speech, music, or sound effects. CAVE: An immersive, shared virtual reality environment created using goggles and several pairs of projectors, each pair pointing to the wall of a small room. Chatterbot/Conversational Character: A chatterbot is a computer program designed to simulate a conversation with one or more human users, usually in text. Chatterbots sometimes seem to offer intelligent responses by matching keywords in input, using statistical methods, or building models of conversation topic and emotional state. Early systems such as Eliza and Parry demonstrated that simple programs could be effective in many ways. Chatterbots may also be referred to as talk bots, chat bots, simply “bots,” or chatterboxes. -
Screening a Digital Visual Poetics
Screening a Digital Visual Poetics Brian Lennon Columbia University Book was there, it was there. Gertrude Stein “O sole mio.” The contemporary elegy, Peter M. Sacks has observed, mourns not only the deceased but also the ceremony or medium of grief itself.1 Recent trends in digital media theory signal the absorp- tion of initial, utopian claims made for electronic hypertextuality and for the transformation of both quotidian and literary discourse via the radical enfranchisement of active readers. Born in 1993, the democratizing, decentralizing World Wide Web—at first, the “almost embarrassingly literal embodiment” (George P. Landow) of post- structuralist literary theory, a global Storyspace—has in a mere six years been appropriated, consolidated, and “videated” as a forum for commerce and advertising.2 Meanwhile, with the public recantation 1. Peter M. Sacks, The English Elegy: Studies in the Genre from Spenser to Yeats (Baltimore: Johns Hopkins University Press, 1985), p. 299: “Sociologists and psychologists, as well as literary and cultural historians, consistently demonstrate the ways in which death has tended to become obscene, meaningless, impersonal—an event either stupefyingly colossal in cases of large-scale war or genocide, or clinically concealed somewhere be- hind the technology of the hospital and the techniques of the funeral home.” It is the technology, of course, that is key: and this applies not just to the technologically ob- scured death of human bodies, but to the technologically assisted figural “death,” first of the author (Barthes, Foucault), then of the printed book (Birkerts et al.), and now of the techno-socialistic “network” (with military antecedents) that the Internet once was. -
<I>Victory Garden</I>
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 8-2012 Reading Ineffability and Realizing Tragedy in Stuart Moulthrop's Victory Garden Michael E. Gray Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons, and the Modern Literature Commons Recommended Citation Gray, Michael E., "Reading Ineffability and Realizing Tragedy in Stuart Moulthrop's Victory Garden" (2012). Masters Theses & Specialist Projects. Paper 1188. http://digitalcommons.wku.edu/theses/1188 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. READING INEFFABILITY AND REALIZING TRAGEDY IN STUART MOULTHROP’S VICTORY GARDEN A Thesis Presented to The Faculty of the Department of English Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment Of the Requirements for the Degree Master of Arts By Michael E. Gray August 2012 I would like to thank my wife, Lisa Oliver-Gray, for her steadfast support during this project. Without her love and the encouragement of my family and friends, I could not have finished. I would also like to thank my committee for their timely assistance this summer. Last, I would like to dedicate this labor to my father, Dr. Elmer Gray, who quietly models academic excellence and was excited to read a sprawling first draft. CONTENTS Introduction…………………………………………………………………………..1-30 Chapter One…………………………………………………………………………31-57 Chapter Two…………………………………………………………………………58-86 Chapter Three………………………………………………………………………87-112 Appendix: List of Screenshots...………………………………………………….113-121 Notes………………………………………………………………………………122-145 Works Cited……………………………………………………………………….146-149 iv TABLE OF FIGURES Figure 1. -
Authors and Readers in an ABSTRACT INTRODUCTION
JAY DAVID BOLTER Professor School of Literature, Communications, and Culture Georgia Institute of Technology Atlanta, Georgia Authors and Readers in an Age of Electronic Texts ABSTRACT Electronic hypertext is the latest in a series of technologies of writing; it is a technological innovation that is both revolutionary and evolutionary. Hypertext challenges our sense that any book is a complete, separate, and unique expression of its author. In addition to hypertextual writing, the computer also supports new forms of graphic representation and communication. As all forms of electronic communication become increasingly important in our society, we must learn how to combine these two orthogonal information spaces: the visual space of computer graphics with the semantic space of hypertext. INTRODUCTION These proceedings address a range of issues under the rubric of electronic literacy. Some of the authors consider the problems of transferring texts recorded in earlier technologies of writing to the new electronic medium. Others consider how to use these texts once they have been transferred. Some address the challenges that electronic technology poses for publishers as the traditional providers of texts, others the challenges faced by libraries as the traditional centers for collecting and organizing texts. These issues in turn entail larger questions: How does the computer change the nature of symbolic representation and communication, the nature of writing itself? What does it mean to be an author in an electronic environment? What does JAY DAVID BOLTER it mean to be an electronic reader? At the outset, it may be useful to reflect briefly on these larger questions. HYPERTEXT AND THE HISTORY OF WRITING What makes electronic writing interesting and novel are the qualities of fluidity, multiplicity, and dispersed control in other words, its hypertextual qualities. -
Chapter 1 1. Anthony J. Niez and Norman N. Holland, “Interactive
notes.qxd 11/15/1999 9:14 AM Page 173 Notes Chapter 1 1. Anthony J. Niez and Norman N. Holland, “Interactive Fiction,” Critical Inquiry 11 (1984): 111. 2. Articles on readers and hypertexts include Stuart Moulthrop and Nancy Kaplan, “Something to Imagine: Literature, Composition, and Inter- active Fiction,” Computers and Composition 9, no. 1 (1991): 7–24; Moulthrop and Kaplan, “They Became What They Beheld: The Futility of Resistance in the Space of Hypertext Writing,” in Literacy and Computers: The Complications of Teaching and Learning with Technology, ed. Susan Hilligoss and Cynthia L. Selfe (New York: Modern Language Association, 1991), 105–32; Michael Joyce, “Siren Shapes: Exploratory and Constructive Hypertexts,” Academic Computing 3, no. 4 (1988): 10–14, 37–42; J. Yel- lowlees Douglas, “Plucked from the Labyrinth: Intention, Interpretation, and Interactive Narratives,” in Knowledge in the Making: Challenging the Text in the Classroom, ed. Bill Corcoran, Mike Hayhoe, and Gordon M. Pradl (Portsmouth, N.H.: Boynton/Cook, 1994), 179–92; Douglas, “Gaps, Maps, and Perception: What Hypertext Readers (Don’t) Do,” Perforations 3 (spring–summer 1992): 1–13. 3. Jurgen Fauth, “Poles in Your Face: The Promises and Pitfalls of Hyper‹ction,” Mississippi Review 2, no. 6 (September 1995): <http://orca.st.usm.edu/mrw/backweb.html>. 4. Thomas Swiss, “Music and Noise: Marketing Hypertexts,” review of Eastgate Systems, Inc., Post Modern Culture 7, no. 1 (1996): <http:// jefferson.village.virginia.edu/pmc/text-only/issue.996/review-4.996>. 5. Espen J. Aarseth, Cybertext: Perspectives on Ergodic Literature (Bal- timore: Johns Hopkins University Press, 1997), 49. 6. -
Interactive Digital Narrative History, Theory and Practice
Interactive Digital Narrative History, Theory and Practice Edited by Hartmut Koenitz, Gabriele Ferri, Mads Haahr, Diğdem Sezen and Tonguç İbrahim Sezen First published 2015 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of the editor to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data [CIP data] ISBN: 978-1-138-78239-6 (hbk) ISBN: 978-1-315-76918-9 (ebk) Typeset in Sabon by codeMantra Contents Foreword ix NICK MONTFOrt Acknowledgments xv 1 Introduction: Perspectives on Interactive Digital Narrative 1 Hartmut KOENITZ, GABRIELE FERRI, MADS HAAHR, DIğDEM SEZEN AND TONGUÇ İBRAHIM SEZEN SECTION I: IDN HISTORY Introduction: A Concise History of Interactive Digital Narrative 9 -
Benchmark Fiction: a Framework for Comparative New Media Studies
Benchmark Fiction: A Framework for Comparative New Media Studies Christy Dena Jeremy Douglass Mark Marino University of Melbourne UC Santa Barbara UC Riverside School of Creative Arts 2607 South Hall, UCSB 8325 Fordham Rd. Parkville, Australia Santa Barbara, CA 93106-3170 USA LA, CA 90045 USA [email protected] [email protected] [email protected] Abstract The underlying tenet of producing benchfic – the separation of How do we compare eliterature forms? What does it mean for a ‘form’ from ‘content’ – is highly problematic. It is difficult or work to be implemented as hypertext, interactive fiction, or impossible to pinpoint where form ends and content begins in a chatbot? "Benchmark fiction" is a methodology for creating given work, particularly artistic work designed to be experienced 'benchmarks' - sets of adaptations of the “same” eliterature content as a unified whole. Yet, with benchfic as with other processes of across different media for the purpose of comparative study. adaptation, translation and remediation, the problem of While total equivalence between the resulting 'benchfic' is determining which elements to hold constant and which to vary is impossible, praxis remains important: by creating 'equivalent' in large part the value of the undertaking. media and then critiquing them, we reveal our own definitions of In the process of producing benchfic, one’s concept of ‘form’ is media through process. Work on the first story to be formalized as one’s vision of the content takes new shape. These benchmarked, “The Lady or the Tiger” (1882) by Frank R. very formalizations may break under the weight of the creative Stockton, inspired a framework for displaying sources through experiments, testing their limitations, another goal of the Project. -
The Moment in Hypertext: a Brief Lexicon of Time
The Moment in Hypertext: A Brief Lexicon of Time Marjorie C. Luesebrink School of Humanities and Languages Irvine Valley College Irvine, CA 92620 Tel: l-7 14-644-6587 E-mail: luesebrl @ix.netcom.com ABSTRACT In both technical and critical settings, the theories which Hypertext literature has been characterized as spatial explore the spatial basis for hypertext have helped writers construct by many of the critics involved with its aesthetics understand and manipulate the medium. Frank Shipman and poetics. Michael Joyce, Cathy Marshall, Mark and Cathy Marshall, drawing on a considerable body of Bernstein, Carolyn Guyer, George Landow, Stuart research in traversal technology, and in their own Moulthrop and many others have explored the way in which demonstrations with space-placeholders, such as “VIKI: metaphors of visual space can inform hypertexts--impacting Spatial Hypertext”[l], have formalized these issues.121 both meaning and process. Although these writers refer to George Landow, in Hypertext 2.0 revisits the primacy of the time/space continuum, their writing has been less spatial visualization as both controlling metaphor and concerned with temporal constructs--how time might conceptual precondition of hypertext writing. He identifies influence the programming, writing, and reading of the first issue of linked writing as one of: “orientation hypertext literature. Time factors, however, could be information....necessary for finding one’s place. The viewed as important elements in the way hypertexts are second concerns navigation information....the third conceived and received. This paper seeks to raise questions concerns exit or departure information and the fourth about issues of time--and to suggest some possible arrival or entrance information {italics are the categories that might be investigated. -
Twine and the Challenge to Reading
Twine and the Challenge to Reading Stuart Moulthrop University of Wisconsin-Milwaukee June, 2020 This paper is adapted from the final chapter of Twining, a book about the Twine text- gaming platform forthcoming from Amherst College Press. The book version adds a final, personal perspective omitted here for reasons of length. Twining also offers a history of the software, critical discussions of several influential Twine works, practical chapters exploring creative possibilities of the platform, and reflections and interviews of Twine developers. 1. If you can read this… In 2017 John Cayley, a field leader in digital literary arts, called for a change of direction. In a landmark article called “Aurature at the End(s) of Electronic Literature,” he proposes a turn from visible text to sound: the aural delivery of words spoken or synthesized, using emerging home entertainment platforms, so-called smart speakers like Amazon’s Echo (Cayley "Aurature"). Paradigm shifts are inevitably rivalrous. When you are trying to open a new path, it’s necessary to show the errors of other ways. Accordingly, Cayley deprecates several electronic writing practices, including some with roots in his own academic program. When he comes to the Twine writing platform, he is more skeptical than dismissive, though he raises important questions: In the case of expressive hypertext — with choose-your-own-adventure gaming capabilities — we can now point to Twine as a platform still gaining significant popularity. But will it ever end up supporting Twine-writers and designers commercially, or as prominent literary practitioners? (Cayley "Aurature" n.p.) Cayley allows that Twine is popular and becoming more so. -
The End of Books—Or Books Without End? Front.Qxd 11/15/1999 9:04 AM Page Ii Front.Qxd 11/15/1999 9:04 AM Page Iii
front.qxd 11/15/1999 9:04 AM Page i The End of Books—or Books without End? front.qxd 11/15/1999 9:04 AM Page ii front.qxd 11/15/1999 9:04 AM Page iii The End of Books—Or Books without End? Reading Interactive Narratives J. Yellowlees Douglas Ann Arbor The University of Michigan Press front.qxd 11/15/1999 9:04 AM Page iv Copyright © by the University of Michigan 2000 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2003 2002 2001 2000 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data applied for ISBN 0-472-11114-0 (cloth: alk. paper) front.qxd 11/15/1999 9:04 AM Page v Acknowledgments In 1986 John McDaid, then a fellow graduate student at New York University, suggested I meet Jay Bolter, who arrived bearing a 1.0 beta copy of Storyspace. When he opened the Storyspace demo document to show McDaid and I a cognitive map of the Iliad represented as a hypertext, my fate was clinched in under sixty seconds. I had seen the future, and it consisted of places, paths, links, cognitive maps, and a copy of afternoon, a story, which Jay also gave us. -
Further, Reading
Further, Reading This is the last column in the Platform 2 series. I’m grateful to Vagant for providing me with the opportunity to share some insights into the world of electronic literature over the past two years. I hope the columns have directed readers to some intriguing reading experience made for digital media and perhaps inspired a few writers to consider ways that they might want to play in the vast sandbox offered us by the computer, the network, mobile devices, and other emerging technologies. In parting I offer some suggestions for further reading about electronic literature. There is a rich and growing body of critical writing about electronic literature. While electronic literature is primarily a network- based digital phenomenon, the establishment of electronic literature as an academic field has been built to a greater extent on printed books that take time to step back and process the digital turn as it is unfolds. Foundations Before the Web, in the early 1990s, two books in particular had an important impact in establishing hypertext fiction and digital textuality more generally as objects of study within literature programs. Writing Space: The Computer, Hypertext, and the History of Writing, published by Jay David Bolter in 1991, offered the first serious and detailed investigation of the computer’s “writing space” considering the potential effects of its malleability in comparison to the history of the printed book, and the differences between the conceptual space of electronic writing, characterized by fluidity and interactivity between the writer, the reader, and mediating systems. At the same time as Bolter was writing that study, he was also part of the group developing Storyspace, the first hypertext system developed specifically for the creation of literary texts, and the book provides a good basis for understanding the conceptual milieu of early hypertext fictions such as Michael Joyce’s afternoon, a story. -
From Writing Space to Designing Mirrors 2016
Repositorium für die Medienwissenschaft Jay David Bolter From writing space to designing mirrors 2016 https://doi.org/10.25969/mediarep/11923 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Bolter, Jay David: From writing space to designing mirrors. In: Roberto Simanowski (Hg.): Digital Humanities and Digital Media. Conversations on politics, culture, aesthetics and literacy. London: Open Humanities Press 2016, S. 273– 289. DOI: https://doi.org/10.25969/mediarep/11923. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ INTERVIEW 11 From writing space to designing mirrors Jay David Bolter Jay David Bolter is well known as the author and co- author of important books on the subject of digital technology, culture and aesthetics: Turing’s Man: Western Culture in the Computer Age (1984); Writing Space: The Computer, Hypertext, and the History of Writing (1991); Remediation: Understanding New Media (1999, with Richard Grusin); Windows and Mirrors (2003, with Diane Gromala). In addition to writing about new media, Bolter collaborates in the construction of new digital media forms and created, for example, together with Michael Joyce Storyspace, a pre WWW hypertext authoring system. Bolter is the Wesley Chair of New Media at the Georgia Institute of Technology and a co-Director of the Augmented Environments Lab.