A pivotal point in this book – one that is reassuringly labeled “A Novel” – is the paragraph that reads, in its entirety, “Spent Adidas.” The other shoe drops. Imagination finally spills from one isolated paragraph to the next. This two-word paragraph does not stand out as unusually short among many that relating incidents or facts; literary, artistic, or philosophical deaths; and sometimes simply an author’s or some famous character’s name. How can we avoid being overwhelmed by the weight of what we know, what we have read about other lives? How can what we have learned about history frame, rather than imprison, what we seek to create as readers and writers? Why even attempt to imagine, when truth is stranger and so weighty? These questions raise themselves like ghosts in Hades scenting blood. As in Wittgenstein’s Mistress, a powerful image of a writer’s path of thought. Then, the poesies that succeeded in Borges’s “The Circular Ruins” takes a different turn in Reader’s Block, after a struggle.
This and That Thought, a Turbulence commission, is a robot riot. (Turn on your sound before beginning!) The new issue of Culture Machine grapples with e-lit and the digital humanities and looks to be made of win. And there’s the happy occasion of a new issue of Game Studies, focused on game reward systems.
Learning from YouTube by Alexandra Juhasz is an open access MIT Press “video-book” published on Vectors. It’s made of “texteos” (with YouTube-like videos at the core) and is hilarious and incisive. I suggest you vread it right away.
There’s a nice Slate article on the Choose-Your-Own-Adventure series, quoting not only both of the main COYA authors but also Zork creator and Infocom implementor David Lebling.
It’s tough to write about the ideas that didn’t work out. Sometimes the negative results actually aren’t very interesting, and it’s better not to discuss them. In other cases, it’s impolite to point out other people’s roles – to blame them – and impossible to discuss the failure otherwise. But when a failure is not too big of a deal, possibly instructive to bring up, and as least as much my fault as anyone else’s, that rare opportunity to post about it presents itself.
In 2005, those of us blogging at Grand Text Auto had the idea of starting a “label.” We wanted something that would riff on our blog’s name and serve to showcase larger-scale projects that we did. The idea was that our creative projects would benefit from being associated with each other, just as our blog writing was more lively and had wider reach thanks to the shared context of Grand Text Auto.
After going through our usual best practices process of name development – perhaps, based on experiences like these, I’ll one day start a naming firm – we chose to call the label [auto mata]. With the square brackets and everything, if you want to really give a shout-out, although “Auto Mata” could work if that’s what fits your house style.
I offered to design the logotype. Now, I’m much less likely to start a career in graphic design, and certainly couldn’t drive that auto very far if I did, but I do like to indulge my dilettantish design interests when the opportunity presents itself. This is what I came up with:
Admittedly, it doesn’t exactly slap one in the face.
I don’t think my understated logo was the real problem with [auto mata], though. First Michael Mateas and Andrew Stern’s Façade (July 2005) and then my own Book and Volume (November 2005) were released “under” (perhaps “with” is a better preposition) this label. And that was it. No other “extraordinary e-lit, digital art, and computer games” appeared as [auto mata] releases, which was one big problem. A list of two things isn’t doing that much helpful association or offering people very much to browse. I think if we had kept adding a piece to the [auto mata] catalog every few months, we’d have accumulated a very interesting collection that people would be looking at. We might even encourage the crossing of boundaries between (the stereotypes of) literary work, visual art, and computer games that Grand Text Auto was all about. But we weren’t all regularly doing larger-scale projects that were downloadable. [auto mata] couldn’t really, in any straightforward way, “release” an immense, functional Atari VCS joystick.
Another problem, though, is that [auto mata] was just a list on a Web page. We didn’t build much buzz around [auto mata] itself, or work to promote the label per se as opposed to the two pieces that were released under it. Perhaps this work would have done itself to some extent as our list of publications grew and our offerings drew in people from different communities. But, unfortunately, the work wasn’t done.
Michael, Andrew, and I often mentioned [auto mata] in promoting our pieces. The site is still up. But now it’s 2011, and it’s worth noting that both Façade and Book and Volume have been published again in the fine context of the Electronic Literature Collection, volume 2. Although some “previous publication” information is included for each piece in the Collection, Michael, Andrew, and I all neglected to tell the editors that these two pieces are [auto mata] releases, so that information (provided within the pieces) doesn’t appear on the introduction pages where other bibliographic information is available.
Ah, well. I don’t regret the discussion that led to our developing [auto mata]; nor do I regret the not particularly onerous efforts that we took to get this label launched. In a different situation, such a label might have served not just to catalog work, but as an incentive or rallying point for the Grand Text Auto bloggers in creating work that could be proudly presented alongside other pieces. Perhaps a similar label could still do that for a different group of people.
Do check out The Great Gatsby for NES. Old chap.
“D.P.O.” is a pretty amazing X-Files episode, featuring not only an arcade, which is central to the episode, but also a Lenscrafters cameo, glimpses of a Jerry-Springer-like show and a music video, a reference to the land art piece Lightning Field, a rural boy pranking cows, Jack Black, and a Playboy centerfold with at least a passing resemblance to Sarah Michelle Gellar.
I particularly like how Mulder picks out the suspect by locating his initials on the high score screen of a Virtua Fighter machine. One thing I’m wondering about the arcade in this episode, though: It has a jukebox, which is rather instrumental (no pun intended) to the way the episode … plays out.
Was it really common for arcades to have jukeboxes? In my recollection, which may be rusty, arcades were noisy enough thanks to the games themselves. I suppose one could have turned the games’ volumes down to let other music be heard, but there weren’t jukeboxes in the arcades I remember, from, say, The Gold Mine up through Le Fun. Did your arcades have other soundtracks, beyond those coming from the cabinets?
Truth is often stranger than fiction. Sometimes fiction just exaggerates for effect, of course. In the world of this commercial,
- Early Macintoshes have a green-on-black, all-caps display.
- Interactive fiction text goes only 3/5 of the way across the screen.
- Macs use 5.25″ floppy discs.
These changes were no doubt thoughtfully made to construct the “retro” in a more intense way, allowing for a readable and seemingly old-school display and collaging different aspects of 1980s home computers. This way the green-on-black display and 5.25″ disks can live alongside the iconic presence of the early Mac. Plus, GLaDOS gets to say the multisyllabic word “Macintosh” at the end of the video. The creators of the video surely knew they were doing it wrong but decided to try to construct something more 80s than 80s.
I wonder if they knew they were making a tribute video for Rob Swigart, whose game/novel Portal was released by Activision in 1986 on 5.25″ and 3.25″ disk for Amiga, Macintosh, Commodore 64, Apple II, and PC.
Swigart also contributed to another early entry in the “pseudohacking” genre, the Activision game Hacker, which sported an all-text beginning that looked very much like the on-screen display in the video.
The commercial testifies to our memories of the 1980s by making things up. But there was Portal on 5.25″ disk in 1986. This video documents the Amiga version. Interesting to see that the first commenter on there can’t believe that something like this could crawl out of our memory hole, through the portal from the past.
Google’s spam cop, Matt Cutts
the head of the Webspam team
in the sprawling, subterranean world
found 2,015 pages with phrases like “casual dresses,”
snoring, diamond drills, bathroom tiles,
a Google no-no.
Liquid nitrogen and “fairy tale pumpkin”
will flag a Web site that goes from zero
zero influence on the latter, he said.
Chinese cooking can bolster your profile if
organic search results
warn against using tricks
to snooker his employer.
You could imagine a dozen contenders
“Samsonite carry on luggage,” for instance,
And bedding? And area rugs?
Who is that someone?
The next it was essentially buried.
Thanks to the hard work of the editorial collective, Laura Borràs, Talan Memmott, Rita Raley, and Brian Kim Stefans, and to contributions of more than 70 (often collaborating) authors, we now have an incredible new anthology: volume 2 of the Electronic Literature Collection, which offers 60 new reading experiences for the networked computer.
To make the first volume of the Collection possible, my fellow editors and I limited ourselves to the sort of e-lit projects we could easily publish on CD-ROM and on the Web. The formal range of the ELC has expanded in the new collection, which documents several projects that wouldn’t, themselves, fit on disc. The range of languages represented has also widened, and the collective has brought it own perspectives and concepts to offer a different sort of selection than is seen in the first volume.
I’m certainly pleased to have some of my work included: Book and Volume and the first program in the ppg256 series. And I’m glad that Laura, Talan, Rita, and Brian worked so carefully and at such length to gather and edit this diversity of material. They’ve made this project a success for the ELO and for e-lit readers. And finally, as a reader, I’m also really looking forward to diving into the pages and windows of this collection.
Curveship runs on the Ben NanoNote, by the way. It could be faster, certainly – I and others will be working on that. But it does run, which is a good start and bodes well for the ability of Curveship games to run on many different platforms.
Happy Chinese New Year.
Happy Groundhog Day. Today, I’m releasing Curveship, my interactive fiction system that models not only the fictional world, but also the narrative discourse. A development version (0.5) of this Python framework is now available for download. You can find the links, along with some description and documentation of the system, at curveship.com.
(Original photos by April King and Postdlf, Wikimedia Commons; they & these modified versions are CC by-sa 3.0.)