ELO_AI: Archive & Innovate

Sunday 1 November 2009, 12:55 pm   /////////  

The Electronic Literature Organization‘s Fourth International Conference & Program of Digitally Mediated Literary Art

June 3-6, 2010 Brown University Providence, Rhode Island, USA Organized by the ELO and Writing Digital Media  at the Brown University Literary Arts Program dedicated to Robert Coover

The Electronic Literature Organization and Brown University’s Literary Arts Program invite submissions to the Electronic Literature Organization 2010 Conference to be held from June 3-6, 2008 in Providence, Rhode Island, USA.

  • electronic literature
  • writing digital media
  • language-driven digital poesis
  • literal art

We welcome papers and presentations on a broad range of topics. The conference will focus on the theory, criticism, close-reading, practice and archiving of language-driven digital art and poetics. Our gathering will also embrace all the related cultural practices that continue to be addressed by scholars and artists in our growing field:

  • expressive processing
  • computational art
  • artificial cognition and intelligence
  • aesthetic gaming
  • information art
  • codework
  • digitally mediated performance
  • network & media art & activism

In addition we will give a special welcome to papers that engage with the contribution that Robert Coover has made to our field. A festschrift comprised of papers from the conference is proposed and Professor Coover will be our chief featured eWriter. (Other featured speakers to be announced shortly.)

In conjunction with the three-day conference, there will be a juried Program of Language-Driven Digital Art, concentrating on but not confined to installation works. We plan to show the selected work in gallery spaces close to the conference venue in downtown Providence over a two week period. Subject to funding restrictions, selected artists will be awarded bursaries to assist with attending the conference. Submission guidelines will be posted on the conference website by mid November.

Deadline for Submissions: December 15, 2009 Notification of Acceptance: January 25, 2010

PLEASE NOTE: Deadline for full papers will be May 1, 2010 to allow for reflection and exchange on the papers prior to the conference and to get head-start in the publication process.

The basic cost of the conference is $150; graduate students and non-affiliated artists pay only $100.

Conference registration covers access to all events, the reception, some meals, and shuttle transportation.

All conference attendees are also expected to join the ELO before the conference and this can be done at registration.

We are planning to implement online submission and registration. Before submitting, please consult the conference website at …

http://ai.eliterature.org

… where these facilities will be available and where you will find much more information about both the content and the form of the conference and arts program.

After consulting the website, for further queries and all email correspondence contact:

elo dot ai at eliterature dot org

The above address should be used for all conference business. It will checked by myself and also those colleagues and students who will be assisting me with the conference organization. But I appreciate that you may sometimes also want to get in touch with the conference organizer:

John Cayley, Literary Arts Program Box 1923, Brown University 68 1/2 Brown Street Providence, RI 02912, USA office: +1 401 863 3966, John underscore Cayley at brown dot edu

The Conference is currently sponsored and supported by The Electronic Literature Organization, Brown University Literary Arts Program, Brown University Creative Arts Council, Brown University Library, and the RISD D+M Program.

Any organization or individual in receipt of this call who would like to sponsor and support this major international conference, please get in touch. External sponsors are being sought and will be appropriately acknowledged.

Eludamos Posts New Issue, Seeks Articles, Volunteers

Sunday 1 November 2009, 12:13 am   ///  

Those of us who study computer and video games are very fortunate to have two free, online, peer-reviewed journals that do not assess page fees: Game Studies and Eludamos. And, there is at least one more free, online, peer-reviewed journal that does not assess page fees and includes articles about computer and video games: Digital Humanities Quarterly.

That’s the preface to my mentioning that a new issue (vol. 3, no. 2) of Eludamos is now out.

Also, that journal has issued a new call for papers:

The new call for papers for “Eludamos. Journal for Computer Game Culture” is now open, and again, we cordially invite submissions dealing with everything that is relevant to the field of game studies. All articles undergo a double blind peer review process except for papers submitted to the game review section. We expect all submissions to be in English and accept full papers only. For further specifications about our submission guidelines please consult the Eludamos site.

Eludamos also seeks volunteers to do editorial and proofreading work:

We are happy to announce that since its initiation three years ago, not just Eludamos’ readership but also its submission numbers have grown steadily. Thus we are looking to expand the ranks of our editors and proof-readers. Please note that all positions are honorary. We are specifically looking for a book review editor. The editor’s responsibility would be to identify “hot topics” and to solicit reviews of new publications that deal with them. We are also hoping to attract two volunteers for copy editing / proof reading. Please send a short statement of interest via e-mail to the following address: ajahn2 at uni-goettingen dot de

Mary Flanagan Speaks in Purple Blurb, Monday 11/2 6pm

Thursday 29 October 2009, 11:42 pm   ///////  

On Monday (November 2) at 6pm in MIT’s room 14E-310,

The Purple Blurb series of readings and presentations on digital writing will present a talk by

Mary Flanagan.

Mary Flanagan

author of Critical Play: Radical Game Design (MIT Press, 2009)

Mary Flanagan is the creator of [giantJoystick], and author of [theHouse] among other digital writing works. She is Sherman Fairchild Distinguished Professor in Digital Humanities at Dartmouth, where she directs Tiltfactor, a lab focused on the design of activists and socially-conscious software.

Flanagan investigates everyday technologies through critical writing, artwork, and activist design projects. Flanagan’s work has been exhibited internationally at museums, festivals, and galleries, including: the Guggenheim, The Whitney Museum of American Art, SIGGRAPH, and The Banff Centre. Her projects have been funded by the National Science Foundation, the Pacific Cultural Foundation, and the National Endowment for the Arts.

Flanagan writes about popular culture and digital media such as computer games, virtual agents, and online spaces in order to understand their affect on culture. Her co-edited collection reload: rethinking women + cyberculture with Austin Booth was published by MIT Press in 2002. She is also co-author with Matteo Bittanti of Similitudini. Simboli. Simulacri ( SIMilarities, Symbols, Simulacra ) on The Sims game (in Italian, Unicopli 2003), and the co-editor of the collection re:skin (2007).

Flanagan is also the creator of The Adventures of Josie True, the first web-based adventure game for girls, and is implementing innovations in pedagogical and values-based game design.

Using the formal language of the computer program or game to create systems which interrogate seemingly mundane experiences such as writing email, using search engines, playing video games, or saving data to the hard drive, Flanagan reworks these activities to blur the line between the social uses of technology, and what these activities tell us about the technology user themselves.

A representative from the MIT Press bookstore will be at the talk offering copies of Flanagan’s books for sale.

Invisible GeoCities

Monday 26 October 2009, 11:18 pm   //////  

GeoCities, founded in 1995, grew to become the third most visited site on the Web in 1999, when it was bought by Yahoo! for more than $3.5 billion. It offered free Web hosting in directories themed as different cities. Many people published their first page and first site on GeoCities. The Archiveteam has been working to save as much of it as possible; this wildly individual Web work won’t be completely lost to us as much of the pre-Wayback Web is. But at midnight Pacific Time, the plug will be pulled on this significant and populist piece of the Web. Here is, not an archive, but at least a peek at some of what will go dark.

from geocities

from geocities

from geocities

from geocities

from geocities

from geocities

Platform Readings: Jaguar, Pseudo 3D

Thursday 22 October 2009, 1:27 am   /////  

As an Atari Jaguar owner, I suppose I have something of a soft spot for the system, but I really do wish that it had more than one awesome game. There’s a recent article on the failure of Atari’s last console by Matthew Kaplan. He ends up singing of the Jaguar rather as if it has been the Great White Hope, sadly fallen to Japanese consoles, but touches on several interesting aspects of the console along the way. Technology, pricing, and marketing are all discussed in some detail. This will help us remember the “64-bit” claims that were made for the system and the never-shipped VR helmet that made appearances at trade shows. Thanks to Jason Scott for this link.

Pseudo 3D graphics is the road less traveled these days, but this non-polygon method of making racetracks and other planar spaces appear to be 3D is fascinating. It’s written up very clearly, with code, example images, and discussion of games that use unusual pseudo-3D techniques, in an article by Louis Gorenfeld. I like how the advantages and disadvantages of these techniques are discussed – the method is treated as neither strictly inferior or “way better” than what we usually think of as 3D. This one’s not only relevant to platform studies, but an obvious topic for a blog called Post Position. Thanks to Josh Diaz for the link.

&Now in Buffalo

Wednesday 21 October 2009, 1:40 pm   //////  

I’m not up to a writeup of the recent &Now: A Conference of Innovative Writing and the Literary Arts, a festival/conference (“festerence,” as someone noted) which just shuffled through Buffalo. But while you are waiting for the deadpan article in Harper’s about the event, these should be worth about 3000 words.

Babyfucker

Tuesday 20 October 2009, 8:36 pm   /////  
Babyfucker, Urs Allemann, trans. Peter Smith, biligual edition, Les Figues Press, 2010

Babyfucker, Urs Allemann, trans. Peter Smith, biligual edition, Les Figues Press, 2010

“… mirrors and copulation are abominable because they increase the number of men.” —Borges

Babyfucker is far more disturbing than the title suggests. The book, written by a Swiss author, spawned a controversy in Germany in 1991. It begins unabashedly with the sentence “I fuck babies,” which the narrator declares to be his sentence. It is the reader’s sentence, too. However, there are no detailed representations of infant pedophilia. There is terse, detached description of an impossible garret, filled with baskets of babies, supplied with a spigot and drain for morphine-laced milk; trepidation at humanity and new life; a man who sees himself in the mirror as a baby — then as made up, limb by limb, of babies. If there are specific sexual visions here, they must belong mainly to the reader, not the text. Among other unsettling things, the volume (which is yellow and pink, tiny, and cute) shows the reader’s involvement in literary atrocities, in any violation committed by shared imagination.

Computer Game Maps Sought for Exhibit

Saturday 17 October 2009, 2:15 pm   ////  

Hand-drawn, player-created computer game maps are sought for a traveling exhibit in the UK. They’re needed soon – by mid-November. Thanks to Ian Bogost for letting me know about this.

Morpheus Biblionaut

Thursday 15 October 2009, 10:51 am   /////  

Writer, publisher, and collaborator of mine William Gillespie just read (yesterday afternoon) an extraordinary piece here at the &Now festival in Buffalo. The multimedia piece is Morpheus Biblionaut, which he created with Travis Alber of Bookglutton.com. Gillespie pulls out the stops for this tale of an American astronaut and poet who returns to earth to find almost no radio activity, except, perhaps, for one signal. Plug in, isolate yourself for a space of time, and read this one!

I presented right after on ppg256, my series of poetry generators.

Of Late

Tuesday 13 October 2009, 9:49 pm   ///////  

People I know have been up to many things lately, and many of these surely deserve a full, thoughtful blog post. I won’t manage that, so the least I can do is mention that …

Jason Scott continues to back up Geocities, and, in the process of doing this, has posted page-heaps of under construction and email icons. Warning: ginormous.

Jason Nelson presented his new, uncanny, crapcredible game, Evidence of Everything Exploding.

Jason McIntosh has a great video about a non-digital game, Diplomacy, that he and friends did during a day-long session, wearing more-ot-less nationally appropriate hats.

zzzZRT: Unit compliance -- 0%. Unit appears incapable of mentioning people with any other first name. Attempting repair...

Jill Walker Rettberg has a short and insightful video about blogging as a way of learning.

Robert Pinsky’s libretto was sung in a musical reading of Tod Machover’s opera Death and the Powers at Cambridge’s A.R.T. on September 17. The workshop presentation (check out the photos) was a major milestone toward a full production of the digitally augmented “robot pageant,” which I found zestfully written and very cleverly framed.

Lots of people are playing and reviewing Interactive Fiction Competition games. A list of way-many reviews was put together and is being updated by Yoon Ha Lee.

Curveship in AI Magazine

Tuesday 13 October 2009, 7:06 pm   /////  

Delightfully, the current issue of AI Magazine (Volume 30, number 3, Fall 2009) is on computational creativity. The number offers articles on the field overall; the history of workshops on the topic; computer models of creativity; and creative systems to generate music, stories and their tellings, moves of chess, and humor. The last article is computer-generated in high Hofstadter style.

Pablo Gervás’s contribution, “Computational Approaches to Storytelling and Creativity,” provides a clear introduction to the concept of creativity and the history of the term, analyzes the relevant features that storytelling systems can work upon, gives an outline of work in computational creativity so far, and continues with a capsule summary of several important storytelling systems. The last one of these is my system nn, which I renamed “Curveship” as I started focusing on a public release of the software.

In the nn system for interactive fiction (Montfort 2007) the user controls the main character of a story by introducing simple descriptions of what it should do, and the system responds with descriptions of the outcomes of the character’s actions. Within nn, the Narrator module [now called the Teller] provides storytelling functionality, so that the user can be “told” the story of the interaction so far. The Narrator module of nn addresses important issues in storytelling that had not been addressed by previous systems: order of presentation in narrative and focalization. Instead of telling events always in chronological order, the nn Narrator allows various alternative possibilities: flashbacks, flash-forwards, interleaving of events from two different time periods, telling events back to front. It also captures appropriate treatment of tense depending on the relative ordering of speech time, reference time, and event time. Focalization is handled by the use of different focalizer worlds [now called concepts] within the system. Aside from the actual world of the interactive fiction system, nn maintains additional separate worlds representing the individual perspectives and beliefs of different characters. These can be used to achieve correct treatment of focalization (telling the story from the point of view of specific characters). [pp. 57-58]

In discussing the systems, Gervás notes (and I agree) that the other systems he discussed, ranging from Klein’s Novel Writer and Meehan’s Talespin to The Virtual Storyteller and Riedl’s Fabulist, are system for inventing stories, while nn’s Narrator (Curveship’s Teller) is the only system for telling stories. He writes:

If the processes for inventing stories in the reviewed systems rate low in terms of creativity, the rating obtained by processes for telling stories is even sadder. The challenge of how to tell a story has received very little attention in general, and it is mostly tagged on as a final stage to systems that concentrate on inventing stories. The nn system is a notable exception in that it involves a significant effort to model computationally some of the basic elements contained in Genette’s work on narrative discourse (Genette 1980): relative order of presentation and focalization. However, all the systems that tell the stories they invent do in fact include default solutions to many of the technical challenges involved in telling a story. [p. 60]

Although Gervás has provided a good take on the system, I’ll just note one way in which Curveship (née nn) does a bit more than the article might suggest to reader and one way in which it does less.

Genette described five categories of narrative discourse: order, frequency, speed, mood (which includes focalization), and voice (which includes distance). Curveship can vary not only order and focalization; it also allows for significant variation in the other three categories. I hope this will be of practical interest to interactive fiction authors and to those seeking to teach narrative theory using Curveship. However, the main research advances that have been made so far are in the two areas that Gervás indicates: order and mood (specifically, focalization).

While Curveship can automatically creative narrative variation based on parameters, I have to note that I am not putting it forth as a creative system. This makes it unlike many of the programs discussed in Gervás’s article and in this issue of AI Magazine. Given a specification for telling (which is called a spin), the system can make the appropriate changes and generate suitable text. However, the system does not, by itself, determine how a story should be told. The code that individual IF authors and AI researchers write is needed to accomplish that task.

Of course, formalizing the elements of narrative variation is necessary for any principled system that is supposed to vary the telling of a story. I hope that Curveship’s Teller will be deeply relevant to work in the creative invention and telling of stories, and that it will be used not only to enable new sorts of learning systems and interactive fiction pieces but also, in modified or unmodified form, as a component of creative systems.

The Games Begin

Saturday 3 October 2009, 11:56 pm   ////  

The 15th Interactive Fiction Competition games are out. You can download them and, this year, play 14 of them online. Voting in the IF Comp is done by the public at large, so you can participate at the ballot box as well as at the prompt.

Tenure Track Position: Assistant Professor of Visual Arts

Thursday 17 September 2009, 12:45 pm   ////  

My colleagues in the Visual Art Program are looking for an artist (and particularly inviting new media artists) to join the faculty and teach in the program. MIT, of course, offers the opportunity for artists to work in a diverse and high-powered technical context, but the campus also has incredible arts dimension. A nicely-formatted announcement is on the Web and available in PDF. Here’s the text of it:

The Massachusetts Institute of Technology (MIT) is seeking an individual with an emerging international reputation to join the faculty of its Visual Arts Program as an Assistant Professor, tenure-track. We seek a colleague with significant experience, knowledge and accomplishments in the fields of technoaesthetic and/or technocultural art practice, especially in the areas of New Media and/or Media Performance, an artist who has strong skills and experience in teaching at the college, university or art school academic level. This appointment will be a tenure-track position as Assistant Professor. Minimum Qualifications: · Master of Fine Arts degree or equivalent · Emerging international recognition as a practicing artist · Experience teaching at the college, university or art school level · Skills, knowledge and accomplishments in technocultural, technoaesthetic and performative art practice and a strong interest in transdisciplinary collaboration · The candidate must be highly knowledgeable in contemporary art practice, art history, art and media theory We seek a colleague whose artistic practice bridges art, science, and technology, and intersects with emerging directions and methodologies in sciences (including social and human sciences), new technologies (including communication technologies), and/or design, media research, and engineering. Accomplishments in the fields of new media including digital, database, Internet art responsive/interactive, media performance, or other emerging techno-aesthetic arts will be a plus. Candidates should be highly articulate in the field of audio/visual culture and other relevant fields and disciplines (for example, gender or postcolonial studies). Preference will be given to candidates whose projects and intellectual approach address contemporary social, cultural and ethical issues and do so in analytical, critical and/or transformative ways. MIT’s Visual Arts Program develops critical analytical and visionary strategies in artistic practice within the context of the advanced scientific and engineering community of MIT. Students and faculty alike are drawn to the program because of the transdisciplinary opportunities found in this unique environment. The faculty is composed of renowned artists with active, international careers in artistic production and a strong interest in cross-discipline debate and modes of production. MIT students are diverse, intellectually gifted and highly motivated. Undergraduates come from a variety of scientific and technical fields from across the Institute. Graduate enrollment includes not only the program’s own master’s students, but also students from Architecture, the Media Lab, and other academic units. This position is a unique opportunity to engage, interact and inspire undergraduate students from a variety of cultures and disciplines, as well as to mentor an exceptional group of graduate students in the visual arts. We are seeking candidates of diverse backgrounds and approaches, who are passionate about community building and who have an interest in collaborative projects crossing to other fields. The appointment can begin as early as fall 2010. Please submit materials on DVD or CD to Professor Krzysztof Wodiczko, Chair, Search Committee, MIT Visual Arts Program, 265 Massachusetts Avenue N51-328, Cambridge, MA 02139. Submissions will not be returned to applicant. Included with materials should be (in digital format on disk):· CV· Letter of intention and teaching philosophy· A well-organized selection of artistic work, presented in a manner to make it easy to review· Names and contact information of at least four references· Other supporting materials such as selection of writing by applicant (writings, interviews, statements) and/or critical reviews by others of applicant’s work is appreciated Review of applications will begin November 1, 2009. MIT is building a culturally diverse faculty and strongly encourages applications from women and members of underrepresented groups. Applications from women and minority candidates are strongly encouraged. MIT is an Affirmative Action / Equal Opportunity Employer. Further information on the Visual Arts Program can be found at: http://visualarts.mit.edu. For more information, please email: vap-search@mit.edu

Tenured Faculty Position in Comparative Media Studies

Tuesday 15 September 2009, 4:43 pm   ////  

I’m delighted to announce that MIT’s CMS program, where I’ve done much of my teaching and advising, is hiring:

MIT’s Program in Comparative Media Studies seeks applications for a tenured position beginning in September 2010. A PhD and an extensive record of publication, research activity and leadership are expected. We encourage applicants from a wide array of disciplinary backgrounds. The successful candidate will teach and guide research in one or more of the Program’s dimensions of comparativity (historical, methodological, cultural) across media forms. Expertise in the cultural and social implications of established media forms (film, television, audio and visual cultures, print) is as important as scholarship in one or more emerging areas such as games, social media, new media literacies, participatory culture, software studies, IPTV, and transmedia storytelling. The position involves teaching graduate and undergraduate courses, developing and guiding collaborative research activities, and participating in the intellectual and creative leadership of the Program and the Institute. Candidates should demonstrate a record of effective teaching and thesis supervision, significant research/creative activity, relevant administrative experience, and international recognition. CMS offers SB and SM programs and maintains a full roster of research initiatives and outreach activities [see http://cms.mit.edu ] The program embraces the notion of comparativity and collaboration, and works across MIT’s various schools, and between MIT and the larger media landscape. MIT is an affirmative action/equal opportunity employer. Applications consisting of a curriculum vita, a statement of teaching philosophy and experience, a statement of current and future research plans, selected major publications, and names of suggested references should be submitted by November 1, 2009 to: Professor William Uricchio Director, Comparative Media Studies MIT 14N-207 77 Massachusetts Avenue Cambridge, MA 02143 USA

I’m Glad I’m Not the Only One Who Does This

Friday 11 September 2009, 5:21 pm   ///  

Interactive Fiction Suggestions, Fall 2009

Thursday 10 September 2009, 12:29 am   /////  

People who are interested in interactive fiction but who haven’t played much or any of it ask me for suggestions from time to time — not as often as I’d like, of course, but, luckily, once in a while. I’ve had a page of recommendations up on my site since 2005. The games on that list remain good ones, but I’m now updating those recommendations to take into account games from recent years. I’m posting the new recommendations here. Note that many of the people who ask me about IF are of a literary bent, as am I, and my suggestions reflect that.

A good introduction to interactive fiction does not have to be easy or simple. A game that you have to restart several times, and that you can only scratch the surface of after a few hours of effort, may show you, by being intricate and compelling, why it’s really worthwhile to try to meet the challenges of IF. It seems most important to me that a piece of IF quickly gives a sense of the powerful, interesting play of simulation and language. Such a game might happen to be hard or easy. On the other hand, some good games rely on a player knowing about IF conventions and even particular earlier games, characters, or puzzles. These often aren’t good places for someone just starting. There are many good commercial games from the 1980s and some from more recent times, but in my main list, I’ve limited myself to games that authors have made available for free download.

Although it’s possible to play some IF on the Web, it’s really best to use an interpreter to run all of this interactive fiction; the interpreter is to IF as the Flash player is to Flash and the Web browser is to the Web. There are good interpreters for Windows (Gargoyle) and Mac OS X (Spatterlight) that run IF in all of the major formats; you can also find interpreters for Linux and for smartphones. There are plenty of things you can read to help you play interactive fiction — one that I’d particularly suggest is Emily Short’s PDF introducing interactive fiction — but if you have the chance to play together with someone who knows the conventions of IF and has played a few games before, that will surely be the best way to get into IF.

These are my suggestions for eager first-time IF players, organized by year of release:

Anchorhead by Michael Gentry, 1998

A sprawling horror based on the mythos of H.P. Lovecraft, with exquisite attention to detail and compelling characters and places.

Bad Machine by Dan Shiovitz, 1999

The surface of this game seems to be a confusion of code, error messages, and a small bit of English, but its strange science fiction world is deeply systematic.

For a Change by Dan Schmidt, 1999

Schmidt’s game programming is better known thanks to Guitar Hero but before he coded that up he was inspired by Ben Marcus’s The Age of Wire and String and wrote this piece of interactive fiction, which features an odd lexicon and curious, magical assemblages.

Varicella by Adam Cadre, 1999

A sort of revenge-play, difficult, complex, and worth several attempts. A strange palace holds intrigues, surprises, an array of excellent characters who wander and plot against the player character, the palace minister.

Shade by Andrew Plotkin, 2000

The most famous “one room game in your apartment.” What seems to be a sleepless night undergoes a disturbing transformation as the character, undertaking ordinary actions, uncovers a different reality.

Slouching towards Bedlam by Daniel Ravipinto and Star C. Foster, 2003

An intricate steampunk piece with that deals with insanity and language and offer several different concluding threads.

Whom the Telling Changed by Aaron Reed, 2005

A reframing and reworking of Gilgamesh, the first known epic, which combines elements of hypertext-like word selection with the usual command-based IF interface.

Bronze by Emily Short, 2006

Reworks the beauty and the beast legend, embedding memories in an architectural space in compelling ways. It has a special “novice mode” and a status-line compass that will aid players in understanding and navigating IF locations.

Lost Pig (And Place Under Ground) by Admiral Jota, 2007

A hilarious underground romp that brings every major type of puzzle together in miniature form. The really wonderful aspect is the orcish, semi-literate narration that is used throughout.

Violet by Jeremy Freese, 2008

A graduate student locks himself in his office to try to make progress on his dissertation. The puzzles, as the player seeks to overcome distraction, are amusing, but the atmosphere and the voice of the character’s absent, imagined girlfriend are extraordinary.

I still like all of the pieces I originally suggested, but, in the interests of bringing in some newer games while making only ten main suggestions, I’m moving these here: Aisle, by Sam Barlow, 1999; Dangerous Curves, by Irene Callaci. 2000; The Edifice, by Lucian Paul Smith, 1999. Savoir-Faire, by Emily Short, 2002. And, in case you feel comfortable obtaining (previously) commercial games from abandonware sites or want to quest for them on eBay, I’ll also mention A Mind Forever Voyaging, by Steven Meretzky, Infocom, 1985; Mindwheel, by Robert Pinsky, Brøderbund/Synapse, 1984; Suspended, by Michael Berlyn, Infocom, 1983; Trinity, by Brian Moriarty, Infocom, 1986; and Wishbringer, by Brian Moriarty, Infocom, 1985. Note that reading or at least looking over the documentation to these commercial games is often very useful, and sometimes essential, in getting started with them.

Does anyone else have other good IF starting points to suggest? Or, does anyone want to report experiences of delight or frustration with one of these ten games?

Purple Blurb – Digital Writing, Fall 2009

Tuesday 8 September 2009, 5:17 pm   ///////  

Once again, Purple Blurb offers readings and presentations on digital writing by practitioners of digital writing. All events are at MIT in room 14E-310, Mondays at 6pm. All events are free and open to the public. The Purple Blurb series is supported by the Angus N. MacDonald fund and Writing and Humanistic Studies.

Noah Wardrip-Fruin.

September 14 — Noah Wardrip-Fruin is author of Expressive Processing: Digital Fictions, Computer Games, and Software Studies (MIT Press, 2009), co-creator of Screen (among other works of digital writing), and assistant professor in the Department of Computer Science at the University of California, Santa Cruz.

Mary Flanagan.

November 2 — Mary Flanagan is author of Critical Play: Radical Game Design (MIT Press, 2009), creator of [giantJoystick], and author of [theHouse] (among other digital writing works). She is Sherman Fairchild Distinguished Professor in Digital Humanities at Dartmouth.

D. Fox Harrell.

November 16 — D. Fox Harrell is the creator of the GRIOT system for computational narrative and author of several works in this system, including Loss, Undersea and The Girl with Skin of Haints and Seraphs. He is assistant professor of digital media in the School of Literature, Communication, and Culture at the Georgia Institute of Technology.

Marina Bers.

November 30 — Marina Bers is author of Blocks to Robots: Learning with Technology in the Early Childhood Classroom (Teachers College Press, 2007) and creator of the system Zora. She is associate professor in the Department of Child Development and adjunct professor in the Department of Computer Sciences at Tufts University.

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