slideshow for "scripting the reader in electronic literature"
DESCRIPTION
This was presented at the ASA Conference. Link to session page: http://tinyurl.com/mmm2od9 Here's a link to the roundtable proposal: http://leonardoflores.net/blog/scripting-the-reader-in-electronic-literature-an-asa-roundtable/TRANSCRIPT
A Digital Humanities Caucus Roundtable Discussion Friday, November 7, 2014
Scripting the Reader in Electronic Literature
Roundtable Overview1. Leonardo Flores - Introduction & Theoretical Framing
2. Samantha Gorman - “rhythms of attention”
3. A. J. Patrick Liszkiewicz - “lusory attitudes” (playfulness)
4. Jeremy Hight - locative & AR works
5. Mauro Carassai - e-lit “language games”
6. Discussion
Key Questions
• How do writers of electronic literature design, control, cast, or otherwise shape their readers’ experience and interaction?
• Is fun used as a mechanism for control in a scripted interaction?
• Do they reward certain choices and punish others? • How do they design virtual environments with a
psychogeography that influences their readers' dérive?
What is Electronic Literature?
• E-lit ≠ e-books.
• E-books are industry-driven representations of the book in digital media.
• E-lit is a set of grassroots experimental practices, that embrace the potential of digital media technologies to create innovative engagements with language.
Terms & Genres
Material Dependencies
Scripting the ReaderEspen Aarseth, Cybertext: Perspectives in Ergodic Literature. Johns Hopkins UP. 1997.
• cybertext - a work with feedback loops that incorporates reader input in its functioning.
• “A machine for the production of variety of expression.”
• ergodic works - require “nontrivial effort” to traverse.
Example: traditional novel• Literary form that emerged in the
context of the book as a technology.
• Traversal requires turning pages, parsing the words on the page.
• Traversal ≠ comprehension.
• Reader’s role involves reading, imagining, following their literacy training.
• Interface becomes invisible.
• Goal is immersion in narrative.
Example: videogame
• Cybertexts: require input from the reader via peripheral devices
• Ergodic: traversal has a learning curve, with increasing levels of difficulty.
• Player’s role is scripted, limited, and controlled in games.
• But they allow room for self-expression, discovery, play.
Example: E-Poetry• Aarseth, Cybertext (pgs. 91-92)
• aporia - an impasse, frustration
• epiphany - replaces aporia and satisfies closure.
• Nick Montfort, “Taroko Gorge” (2009)
• The desire for completion, closure, is frustrated (aporia)
• The realization that the work is deliberately endless (epiphany)
Guy Debord “Theory of the Derive” (1958)• “technique of rapid passage through varied ambiences. Dérives involve
playful-constructive behavior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll.”
• In a dérive one or more persons during a certain period drop […] all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there.
• Chance is a less important factor in this activity than one might think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.
• But the dérive includes both this letting-go and its necessary contradiction: the domination of psychogeographical variations by the knowledge and calculation of their possibilities.
Up next1. Samantha Gorman - “rhythms of attention”
2. A. J. Patrick Liszkiewicz - “lusory attitudes” (playfulness)
3. Jeremy Hight - locative & AR works
4. Mauro Carassai - e-lit “language games”
5. Discussion