Today we follow some forerunners of Electronic Literature up to the present day – and think about some key words and key concepts for producers of EL.<\/p>\n
Immersive Simulations<\/strong><\/p>\n\nThe Veldt<\/a> short story by Ray Bradbury in 1950\/51<\/li>\nStar Trek’s “Holodeck” – 1980s<\/li>\n<\/ul>\n<\/iframe><\/p>\n<p>KEYWORDS\/CONCEPTS<\/p>\n<ul>\n<li>Immersion – support for all senses?<\/li>\n<li>AI<\/li>\n<li>Interaction<\/li>\n<li>Presence<\/li>\n<li>Agency<\/li>\n<\/ul>\n<p>1990s CAVE VR<\/p>\n<p><iframe loading=\"lazy\" title=\"CAVE\u00ae - A Virtual Reality Theater - 1993\" width=\"605\" height=\"454\" src=\"https:\/\/www.youtube.com\/embed\/-Sf6bJjwSCE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<ul>\n<li>Immersive, 3D display, 1st person perspective<\/li>\n<li>Interaction ->input (what kinds, how processed?)<\/li>\n<li>Question of affordance (what the environment provides for you to do)<\/li>\n<li>Presence<\/li>\n<li>Other VR using systems from 90s <a href=\"http:\/\/tauzero.com\/Brenda_Laurel\/Placeholder\/Placeholder.html\" target=\"_blank\" rel=\"noopener\">PLACEHOLDER<\/a><\/li>\n<\/ul>\n<p>Dream\/Debate synthesis of games and film<\/p>\n<ul>\n<li>problem identified and debated for years, Games and Narrative don’t mix<\/li>\n<li>apart from aesthetic issues, issue of intelligence\/responsiveness of system<\/li>\n<li><a href=\"https:\/\/soar.eecs.umich.edu\/workshop\/22\/vanLentMRE-S22.PDF\" target=\"_blank\" rel=\"noopener\">Mission Rehearsal Exercise<\/a> (immersive VR plus AI), Institute for Creative Technologies<\/li>\n<li>Firewatch as current state of the art?<\/li>\n<\/ul>\n<p>https:\/\/www.youtube.com\/watch?v=kZX3MgsRb0A<\/p>\n<p>Realism<\/p>\n<ul>\n<li>Games & Race to Cinematic levels of realism -> lighting, physics simulations (real time)<\/li>\n<li>Resistance to, different choices<\/li>\n<\/ul>\n<p>AI<\/p>\n<ul>\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/ELIZA\" target=\"_blank\" rel=\"noopener\">Eliza <\/a>natural language processing computer program created, 1964 to 1966, <sup id=\"cite_ref-turing_1-0\" class=\"reference\"><\/sup> <a title=\"Joseph Weizenbaum\" href=\"https:\/\/en.wikipedia.org\/wiki\/Joseph_Weizenbaum\">Joseph Weizenbaum<\/a>.<\/li>\n<li>Spatial awareness (great strides)<\/li>\n<li>Language use (this seems vital for Electronic Literature but still a problem) – intense and ongoing investigation into intelligent agents, conversational characters, story engines, drama engines etc.<\/li>\n<li><a href=\"http:\/\/www.interactivestory.net\/\" target=\"_blank\" rel=\"noopener\">Facade<\/a>, made in 2005, Michael Mateas and Andrew Stern<\/li>\n<li><a href=\"https:\/\/icids2018.scss.tcd.ie\/\" target=\"_blank\" rel=\"noopener\">ICIDS <\/a>computer science flavored conference, for current debates<\/li>\n<li><a href=\"https:\/\/woebot.io\/\" target=\"_blank\" rel=\"noopener\">Woebot<\/a> – state of art of conversational agents<\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"Fa\u00e7ade trailer\" width=\"605\" height=\"454\" src=\"https:\/\/www.youtube.com\/embed\/GmuLV9eMTkg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>The Holodeck and work proceeding in this direction: experimental technology but quite a traditional idea of story telling.<\/p>\n<p>*****<\/p>\n<p><strong>Hypertext – an alternative dream<\/strong><\/p>\n<p>Thinking of hypertext as a forerunner of EL, brings us much closer to experiments interested in interrogating, expanding and breaking what literature is or could be – and what the computer brings to that picture.<\/p>\n<p>KEYWORDS\/CONCEPTS<\/p>\n<ul>\n<li>playing with form\/making it (and the meaning it contains) visible<\/li>\n<li>non-linearity<\/li>\n<li>indeterminacy<\/li>\n<li>what is the reading\/interactive subject?<\/li>\n<li><a href=\"http:\/\/www.tbook.constantvzw.org\/wp-content\/death_authorbarthes.pdf\">death of the author<\/a> – barthes<\/li>\n<\/ul>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Life_and_Opinions_of_Tristram_Shandy,_Gentleman\" target=\"_blank\" rel=\"noopener\">Tristram Shandy<\/a>, Laurence Stern (1759)<\/p>\n<ul>\n<li>“focus on the problems of language”<\/li>\n<\/ul>\n<p>Limits of Realism (early 20C)<\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.museoreinasofia.es\/sites\/default\/files\/obras\/DE00050_0.jpg\" \/><\/p>\n<ul>\n<li>to “represent,” mirror, capture complexity and uncertainty<\/li>\n<li>Freud, Theory of Relativity – war – atomic bomb<\/li>\n<li>cubism in art, in literature? – e.g. stream of consciousness (James Joyce, Virginia Woolf, William Faulkner)<\/li>\n<li>art and literature that focuses on association, metaphor, sliding signification<\/li>\n<li>also on dangers of propaganda – how does it work?<\/li>\n<li>Brecht – anti Aristotelian drama\u00a0 and catharsis<\/li>\n<\/ul>\n<p>50s and 60s and 70s<\/p>\n<ul>\n<li>Dissatisfaction with linear arguments, closure<\/li>\n<li>Voice of authority\/God<\/li>\n<li>Death of Author<\/li>\n<li>Focus on problems of the subject: Lacan etc. Subject\/self acquired through language which encodes power relations (father, mother, child)<\/li>\n<li>“Always already”<\/li>\n<li>Rise of Random Work: e.g. (indeterminacy, chance operations)\n<ul>\n<li><a href=\"http:\/\/www.johncage.org\/\" target=\"_blank\" rel=\"noopener\">John Cage<\/a> in music\n<ul>\n<li><a href=\"http:\/\/www.johncage.org\/4_33.html\" target=\"_blank\" rel=\"noopener\">4.33 App<\/a><\/li>\n<\/ul>\n<\/li>\n<li><a href=\"https:\/\/www.poets.org\/poetsorg\/text\/brief-guide-oulipo\" target=\"_blank\" rel=\"noopener\">Oulipo<\/a> in literature\n<ul>\n<li><a href=\"http:\/\/www.bevrowe.info\/Queneau\/QueneauRandom_v5.html\" target=\"_blank\" rel=\"noopener\">A hundred thousand billion poems<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>80s and 90s – the LINK (answer to all prayers)<\/p>\n<ul>\n<li>EastGate Systems – hypertext writing – later the WWW was used<\/li>\n<li>Add images – end of dominance of word<\/li>\n<li>Read by association not logic – choose your own path<\/li>\n<li>Alternative reading methods<\/li>\n<li><a href=\"https:\/\/www.youtube.com\/watch?v=ZHUR6phuOrc\" target=\"_blank\" rel=\"noopener\">Patchwork Girl\u00a0<\/a>by Shelley Jackson (1995)<\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"Shelley Jackson, Patchwork Girl. Part 1\" width=\"605\" height=\"454\" src=\"https:\/\/www.youtube.com\/embed\/ZHUR6phuOrc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Conventions\/Affordances of Book v Computer (and interactive moment)<\/p>\n<p><strong>Post Euphoria of Link<\/strong><\/p>\n<ul>\n<li>clicking on link – limited way of acting\/choosing<\/li>\n<\/ul>\n<p><strong>Agency<\/strong><\/p>\n<ul>\n<li>How does Janet Murray define it?<\/li>\n<li>Who has it?<\/li>\n<li>How is it formed\/constrained?<\/li>\n<li>Agency and diff media (book, film, poem, game, e-lit?)<\/li>\n<li>What (as maker) should you be thinking of?<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Today we follow some forerunners of Electronic Literature up to the present day – and think about some key words and key concepts for producers of EL. Immersive Simulations Hypertext Immersive Simulations The Veldt short story by Ray Bradbury in<span class=\"ellipsis\">…<\/span><\/p>\n<div class=\"read-more\"><a href=\"https:\/\/josephineanstey.com\/?page_id=1377\">Read more ›<\/a><\/div>\n<p><!-- end of .read-more --><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1348,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"full-width-page.php","meta":{"footnotes":""},"class_list":["post-1377","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages\/1377","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1377"}],"version-history":[{"count":15,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages\/1377\/revisions"}],"predecessor-version":[{"id":3223,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages\/1377\/revisions\/3223"}],"up":[{"embeddable":true,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages\/1348"}],"wp:attachment":[{"href":"https:\/\/josephineanstey.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1377"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/iframe><\/p>\n<p>KEYWORDS\/CONCEPTS<\/p>\n<ul>\n<li>Immersion – support for all senses?<\/li>\n<li>AI<\/li>\n<li>Interaction<\/li>\n<li>Presence<\/li>\n<li>Agency<\/li>\n<\/ul>\n<p>1990s CAVE VR<\/p>\n<p><iframe loading=\"lazy\" title=\"CAVE\u00ae - A Virtual Reality Theater - 1993\" width=\"605\" height=\"454\" src=\"https:\/\/www.youtube.com\/embed\/-Sf6bJjwSCE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<ul>\n<li>Immersive, 3D display, 1st person perspective<\/li>\n<li>Interaction ->input (what kinds, how processed?)<\/li>\n<li>Question of affordance (what the environment provides for you to do)<\/li>\n<li>Presence<\/li>\n<li>Other VR using systems from 90s <a href=\"http:\/\/tauzero.com\/Brenda_Laurel\/Placeholder\/Placeholder.html\" target=\"_blank\" rel=\"noopener\">PLACEHOLDER<\/a><\/li>\n<\/ul>\n<p>Dream\/Debate synthesis of games and film<\/p>\n<ul>\n<li>problem identified and debated for years, Games and Narrative don’t mix<\/li>\n<li>apart from aesthetic issues, issue of intelligence\/responsiveness of system<\/li>\n<li><a href=\"https:\/\/soar.eecs.umich.edu\/workshop\/22\/vanLentMRE-S22.PDF\" target=\"_blank\" rel=\"noopener\">Mission Rehearsal Exercise<\/a> (immersive VR plus AI), Institute for Creative Technologies<\/li>\n<li>Firewatch as current state of the art?<\/li>\n<\/ul>\n<p>https:\/\/www.youtube.com\/watch?v=kZX3MgsRb0A<\/p>\n<p>Realism<\/p>\n<ul>\n<li>Games & Race to Cinematic levels of realism -> lighting, physics simulations (real time)<\/li>\n<li>Resistance to, different choices<\/li>\n<\/ul>\n<p>AI<\/p>\n<ul>\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/ELIZA\" target=\"_blank\" rel=\"noopener\">Eliza <\/a>natural language processing computer program created, 1964 to 1966, <sup id=\"cite_ref-turing_1-0\" class=\"reference\"><\/sup> <a title=\"Joseph Weizenbaum\" href=\"https:\/\/en.wikipedia.org\/wiki\/Joseph_Weizenbaum\">Joseph Weizenbaum<\/a>.<\/li>\n<li>Spatial awareness (great strides)<\/li>\n<li>Language use (this seems vital for Electronic Literature but still a problem) – intense and ongoing investigation into intelligent agents, conversational characters, story engines, drama engines etc.<\/li>\n<li><a href=\"http:\/\/www.interactivestory.net\/\" target=\"_blank\" rel=\"noopener\">Facade<\/a>, made in 2005, Michael Mateas and Andrew Stern<\/li>\n<li><a href=\"https:\/\/icids2018.scss.tcd.ie\/\" target=\"_blank\" rel=\"noopener\">ICIDS <\/a>computer science flavored conference, for current debates<\/li>\n<li><a href=\"https:\/\/woebot.io\/\" target=\"_blank\" rel=\"noopener\">Woebot<\/a> – state of art of conversational agents<\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"Fa\u00e7ade trailer\" width=\"605\" height=\"454\" src=\"https:\/\/www.youtube.com\/embed\/GmuLV9eMTkg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>The Holodeck and work proceeding in this direction: experimental technology but quite a traditional idea of story telling.<\/p>\n<p>*****<\/p>\n<p><strong>Hypertext – an alternative dream<\/strong><\/p>\n<p>Thinking of hypertext as a forerunner of EL, brings us much closer to experiments interested in interrogating, expanding and breaking what literature is or could be – and what the computer brings to that picture.<\/p>\n<p>KEYWORDS\/CONCEPTS<\/p>\n<ul>\n<li>playing with form\/making it (and the meaning it contains) visible<\/li>\n<li>non-linearity<\/li>\n<li>indeterminacy<\/li>\n<li>what is the reading\/interactive subject?<\/li>\n<li><a href=\"http:\/\/www.tbook.constantvzw.org\/wp-content\/death_authorbarthes.pdf\">death of the author<\/a> – barthes<\/li>\n<\/ul>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Life_and_Opinions_of_Tristram_Shandy,_Gentleman\" target=\"_blank\" rel=\"noopener\">Tristram Shandy<\/a>, Laurence Stern (1759)<\/p>\n<ul>\n<li>“focus on the problems of language”<\/li>\n<\/ul>\n<p>Limits of Realism (early 20C)<\/p>\n<p><img decoding=\"async\" src=\"http:\/\/www.museoreinasofia.es\/sites\/default\/files\/obras\/DE00050_0.jpg\" \/><\/p>\n<ul>\n<li>to “represent,” mirror, capture complexity and uncertainty<\/li>\n<li>Freud, Theory of Relativity – war – atomic bomb<\/li>\n<li>cubism in art, in literature? – e.g. stream of consciousness (James Joyce, Virginia Woolf, William Faulkner)<\/li>\n<li>art and literature that focuses on association, metaphor, sliding signification<\/li>\n<li>also on dangers of propaganda – how does it work?<\/li>\n<li>Brecht – anti Aristotelian drama\u00a0 and catharsis<\/li>\n<\/ul>\n<p>50s and 60s and 70s<\/p>\n<ul>\n<li>Dissatisfaction with linear arguments, closure<\/li>\n<li>Voice of authority\/God<\/li>\n<li>Death of Author<\/li>\n<li>Focus on problems of the subject: Lacan etc. Subject\/self acquired through language which encodes power relations (father, mother, child)<\/li>\n<li>“Always already”<\/li>\n<li>Rise of Random Work: e.g. (indeterminacy, chance operations)\n<ul>\n<li><a href=\"http:\/\/www.johncage.org\/\" target=\"_blank\" rel=\"noopener\">John Cage<\/a> in music\n<ul>\n<li><a href=\"http:\/\/www.johncage.org\/4_33.html\" target=\"_blank\" rel=\"noopener\">4.33 App<\/a><\/li>\n<\/ul>\n<\/li>\n<li><a href=\"https:\/\/www.poets.org\/poetsorg\/text\/brief-guide-oulipo\" target=\"_blank\" rel=\"noopener\">Oulipo<\/a> in literature\n<ul>\n<li><a href=\"http:\/\/www.bevrowe.info\/Queneau\/QueneauRandom_v5.html\" target=\"_blank\" rel=\"noopener\">A hundred thousand billion poems<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>80s and 90s – the LINK (answer to all prayers)<\/p>\n<ul>\n<li>EastGate Systems – hypertext writing – later the WWW was used<\/li>\n<li>Add images – end of dominance of word<\/li>\n<li>Read by association not logic – choose your own path<\/li>\n<li>Alternative reading methods<\/li>\n<li><a href=\"https:\/\/www.youtube.com\/watch?v=ZHUR6phuOrc\" target=\"_blank\" rel=\"noopener\">Patchwork Girl\u00a0<\/a>by Shelley Jackson (1995)<\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" title=\"Shelley Jackson, Patchwork Girl. Part 1\" width=\"605\" height=\"454\" src=\"https:\/\/www.youtube.com\/embed\/ZHUR6phuOrc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Conventions\/Affordances of Book v Computer (and interactive moment)<\/p>\n<p><strong>Post Euphoria of Link<\/strong><\/p>\n<ul>\n<li>clicking on link – limited way of acting\/choosing<\/li>\n<\/ul>\n<p><strong>Agency<\/strong><\/p>\n<ul>\n<li>How does Janet Murray define it?<\/li>\n<li>Who has it?<\/li>\n<li>How is it formed\/constrained?<\/li>\n<li>Agency and diff media (book, film, poem, game, e-lit?)<\/li>\n<li>What (as maker) should you be thinking of?<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Today we follow some forerunners of Electronic Literature up to the present day – and think about some key words and key concepts for producers of EL. Immersive Simulations Hypertext Immersive Simulations The Veldt short story by Ray Bradbury in<span class=\"ellipsis\">…<\/span><\/p>\n<div class=\"read-more\"><a href=\"https:\/\/josephineanstey.com\/?page_id=1377\">Read more ›<\/a><\/div>\n<p><!-- end of .read-more --><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1348,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"full-width-page.php","meta":{"footnotes":""},"class_list":["post-1377","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages\/1377","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1377"}],"version-history":[{"count":15,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages\/1377\/revisions"}],"predecessor-version":[{"id":3223,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages\/1377\/revisions\/3223"}],"up":[{"embeddable":true,"href":"https:\/\/josephineanstey.com\/index.php?rest_route=\/wp\/v2\/pages\/1348"}],"wp:attachment":[{"href":"https:\/\/josephineanstey.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1377"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}