The call for submission for the Electronic Literature Collection volume 3 has been posted. If you do digital work that has one or more literary aspects (even if it’s more often called art or a game), in any language, please check it out. The collective is an excellent group and the direction for this collection is an exciting one.
Half of My Two Cents on E-Lit
Long ago (well, at the end of 2012) I was asked by .Cent magazine, a free-to-read, nicely designed online multimedia publication out of London, for a few comments about my work and my approach to electronic literature. Amazingly, having recently unearthed my responses, I find that they are still relevant! You can read my answers and the rest of the issue in its full splendor, but, very belatedly, I’ll offer my response here as well:
I see electronic literature as a something beyond a genre or a literary movement: It’s an argument that literary art and literary experience have a place in our digital environment alongside the many other ways that networked computing is used. Those of us working in electronic literature are demonstrating that we can have poetic, imaginative, narrative, conceptual, and other sorts of work and experiences online, in addition to commercial, communication, and gaming experiences. We don’t have to share an aesthetic or hold similar political ideas in order to make this argument together, because we’re arguing for something fundamental to future work: The chance to develop literature (of any sort) using the capabilities of the computer and the network.
My own focus is on projects that engage collaboration and computation to bring us into a new, disoriented, and potentially productive relationship to the computer and the world. A recent project that is both highly collaborative and highly computational is Sea and Spar Between, a poetry generator Stephanie Strickland and I developed. In it, we bring together words from the vocabulary of Melville and Dickinson, present a sea of textual data that is far beyond the human ability to read but which can be understood in some ways, and suggest a collaborative, computational, and literary-historical perspective on the natural world. In my “solo career” I have written very short programs such as those in the ppg256 series and those in the set Concrete Perl, to investigate, poetically, how computation and a particular programming language hook into the English language. Some of my other collaborative e-lit projects are Implementation with Scott Rettberg and Three Rails Live with Scott and Roderick Coover, both of these dealing with urban and global experiences buy cutting up narrative forms in new ways.
New Report on Nanowatt & World Clock
The latest technical report (or “Trope Report”) to issue from the Trope Tank is TROPE-14-01, “New Novel Machines: Nanowatt and World Clock“ by Nick Montfort:
>My Winchester’s Nightmare: A Novel Machine (1999) was developed to bring the interactor’s input and the system’s output together into a texture like that of novelistic prose. Almost fifteen years later, after an electronic literature practice mainly related to poetry, I have developed two new “novel machines.” Rather than being works of interactive fiction, one (Nanowatt, 2013) is a collaborative demoscene production (specifically, a single-loading VIC-20 demo) and the other (World Clock, 2013) is a novel generator with accompanying printed book. These two productions offer an opportunity to discuss how my own and other highly computational electronic literature relates to the novel. Nanowatt and World Clock are non-interactive but use computation to manipulate language at low levels. I discuss these aspects and other recent electronic literature that engages the novel, considering to what extent novel-like computational literature in general is becoming less interactive and more fine-grained in its involvement with language.
This was the topic of my talk at the recent ELO conference. Share and enjoy!
The Times Has a Moment with IF
The New York Times has an article (online today, in print tomorrow) entitled “Text Games in a New Era of Stories,” about ye olde interactive fiction and new-fangled manifestations of it, including Ms. Porpentine’s Howling Dogs and Ms. Short’s Blood & Laurels.
(Okay, it must be admitted that even The New York Times didn’t refer to the author of Howling Dogs as “Ms. Porpentine.”)
Techsty #9, with Sea and Spar Between in Polish
Exciting news for Polish-readers (and, I think, others): The new issue of Techsty, number 9, is out. You might think that a “Techsty” is just a place where infopigs like me live, but it’s actually a long-running site (since 2001) on digital literature, with an esteemed journal that has been published since 2003.
The current issue includes translations of articles by Robert Coover and Brain McHale, an article by Seweryna Wysłouch, and a special section on an audacious project. This is the translation of Sea and Spar Between, by Nick Montfort and Stephanie Strickland, which is a fairly extensive special-purpose poetry generator that is fair entwined with the English language (as well the specific authors from whom it draws: Emily Dickinson and Herman Melville). Not only did the two translators tackle the difficult and in fact unprecedented task of translating the underlying system to Polish, so that the program generates stanzas in that language; they also translated our comments from the “cut to fit the toolspun course” edition of the work. I hope this will invite remixing and code re-use in Polish as well as helping to improve the understanding of our project and our collaboration. Monika Górska-Olesińska also has an article on Stephanie Strickland’s work, with a photo of Stephanie reading just a few days ago at the ELO conference.
Piotr Marecki also translated my short generator Lede for the issue. (Amusingly enough, the translated title is the more conventional and seemingly more properly-spelled English word “Lead.”) It has some aspects of cultural translation – absurd figures from Polish culture are substituted for some of the ones I included from my American perspective.
The only mistake I see in the Sea and Spar Between items is that it’s hard (for me, at least, not being a reader of the language) to determine who did the translation of both the poem generator and the comments: Monika Górska-Olesińska and Mariusz Pisarski, who are attributed atop the commented code but not, for instance, here on the Polish “How to Read” page. In digital literature, there generally is no system for buying rights and recruiting and paying translators for their work – just as there is no system for doing this for authors. So the least we can do is to properly credit those who work to develop new programs and cybertexts, whether they are based on earlier ones in other languages or not.
The final article I’ll note is an interview, I think one that’s very kind to me and my lab, The Trope Tank, by Piotr Marecki, who was a postdoc here this past year. Here’s what the Googly Intelligence translates this interview as.
There’s a great deal more in the issue, and I suggest those interested in digital literature, even if not literate in Polish, take at least a quick look using your favorite “translation goggles.” There are some good English-language journals on electronic literature, but I think English-speakers could learn a good deal from this effort, which publishes critical writing (including some in translation) and creative work and also undertakes extensive translation projects.
Computational Narrative and Games (Special Issue)
A special issue of IEEE Transactions on Computational Intelligence and AI in Games (TCIAIG) is now out — I mention it because I was one of the editors, and the issue deals with computational narrative and games.
Here’s the link to the computational narrative and games issue. It was edited by Ian Horswill, Nick Montfort and Michael Young. And here’s what is in it:
Guest Editorial
Horswill, I.D; Montfort, N; Young, R.M
p 92-96
Social Story Worlds With Comme il Faut
McCoy, J. ; Treanor, M. ; Samuel, B. ; Reed, A.A. ; Mateas, M. ; Wardrip-Fruin, N.
p 97-112
Versu—A Simulationist Storytelling System
Evans, R. ; Short, E.
p 113-130
A Computational Model of Narrative Generation for Surprise Arousal
Bae, B.-C. ; Young, R.M.
p 131-143
Automated Story Selection for Color Commentary in Sports
Lee, G. ; Bulitko, V. ; Ludvig, E.A.
p 144-155
Skald: Minstrel Reconstructed
Tearse, B. ; Mawhorter, P. ; Mateas, M. ; Wardrip-Fruin, N.
p 156-165
Designing User-Character Dialog in Interactive Narratives: An Exploratory Experiment
Endrass, B. ; Klimmt, C. ; Mehlmann, G. ; Andre, E. ; Roth, C.
p 166-173
Personalized Interactive Narratives via Sequential Recommendation of Plot Points
Yu, H. ; Riedl, M.O.
p 174-187
Lessons on Using Computationally Generated Influence for Shaping Narrative Experiences
Roberts, D.L. ; Isbell, C.L.
p 188-202
A Supervised Learning Framework for Modeling Director Agent Strategies in Educational Interactive Narrative
Lee, S.Y. ; Rowe, J.P. ; Mott, B.W. ; Lester, J.C.
p 203-214
Shall I Compare Thee to Another Story?—An Empirical Study of Analogy-Based Story Generation
Zhu, J. ; Ontanon, S.
p 216-227
Analysis of ReGEN as a Graph-Rewriting System for Quest Generation
Kybartas, B. ; Verbrugge, C.
p 228 – 241
Waves 3 Ways at @Party
codewiz and I (nom de nom) showed a wild demo at @party yesterday (June 14) at MIT.
It was “Waves 3 Ways (Topsy’s Revenge).” Indeed, there’s video.
The concept is based on one-line C programs to generate music, the earliest of which were by viznut. I (nom de nom) wrote a C expression in this style to generate a waveform that could be output as sound but
also consisted of all printable ASCII characters. The source is about 1kb, without much effort at compression. And the sound, in addition to driving speakers, can be (and was) connected to a Tesla coil.
To connect the oneTesla coil he built, codewiz modified the firmware and the control box to allow the audio output to be read by the potentiometer input. He also wrote dsptee.c to improve the way the text scrolls.
Topsy was the elephant electrocuted by Thomas Edison in 1903 to help prove that AC electricity (advocated by Tesla) was unsafe.
My main disappointment was that the projector, which I thought would be HD and thus the same as my display, showed only the left-hand side of the video. I should have checked it more thoroughly before we got started.
We were very pleased to get second place behind a nice oscilloscope demo.
The final section of the demo is based on the bpNichol poem “Island,” part of his Apple IIe collection First Screening. This poem, in turn, refers to a concrete poem by Ian Hamilton Finlay. I’ve put a video/screencast of the end of the production online.
There’s a party — Perverbs.
I persist in my quest to develop extremely simple, easily modifiable programs that produce compelling textual output.
My latest project is Modern Perverbs. In a world where nothing is as it seems … two phrases … combine … to make a perverb. That’s about all there is to it. If phrase N is picked from the first list, some phrase that isn’t number N will be picked from the second, to ensure maximum perverbiality. The first phrase also carries the punctuation mark that will be used at the very end. This one is a good bit simpler than even my very simple “exploded sentence” project, Lede.
(I learned of perverbs and their power, I should note, thanks to Selected Declarations of Dependence by Harry Mathews.)
In case, for some reason, you fear the legal repercussions of ripping off my HTML and JavaScript and editing it, Modern Perverbs is explicitly licensed as free software. Save the page on your desktop as plain HTML (not “complete”), open it in an editor, and have a field day.
Sounds, User-Input Phrases, and Monkeys in “Taroko Gorge”
Check out “Wandering through Taroko Gorge,” a participatory, audio-enabled remix.
As James T. Burling stated on the “projects” page of MAD THEORY:
>In this combination of presentation and poetry reading, I’ll present a remix of Nick Monfort’s javascript poetry generator, “Taroko Gorge.” My remix added a musical component using a computers oscilloscope function, and more importantly allows participant-observers to type in answers to prompts which are then added to the poem in real-time. The poem will be available throughout the day, gradually adding all inputs to its total sum. I’ll discuss the process of decoding html and javascript as a non-coder, describe some of my theories on participatory performance using computer interfaces, and raise questions about agency in performance and how a digital artifact can function as a poetic event.
Gender? I Hardly Know ‘er
The AWP (Association of Writers & Writing Programs) offers you eleven options on their Web form for indicating your gender. But these are listed in a drop-down box, so you can’t choose more than one.
To give a specific example, you can’t choose “male” and “cisgender.”
OPPRESSION!
ELO Awards: Call for Nominations
The Electronic Literature Organization is delighted to announce two awards to be given this summer; nominations are open now.
>The ELO is proud to announce the ”The N. Katherine Hayles Award for Criticism of
>Electronic Literature” and “The Robert Coover Award for a Work of Electronic
>Literature.” Below is information including guidelines for submissions for each.
>
>http://eliterature.org/2014/04/announcing-elo-prizes-for-best-literary-and-critical-works/
>
>“The N. Katherine Hayles Award for Criticism of Electronic Literature”
>
>“The N. Katherine Hayles Award for Criticism of Electronic Literature” is an
>award given for the best work of criticism, of any length, on the topic of
>electronic literature. Bestowed by the Electronic Literature Organization and
>funded through a generous donation from N. Katherine Hayles and others, this
>$1000 annual prize aims to recognize excellence in the field. The prize comes
>with a plaque showing the name of the winner and an acknowledgement of the
>achievement, and a one-year membership in the Electronic Literature Organization
>at the Associate Level.
>
>We invite critical works of any length. Submissions must follow these
>guidelines:
>
>1. This is an open submission. Self nominations and nominations are both
>welcome. Membership in the Electronic Literature Organization is not required.
>
>2. There is no cost involved in nominations. This is a free and open award aimed
>at rewarding excellence.
>
>3. ELO Board Members serving their term of office on the Board are ineligible
>for nomination for the award. Members of the Jury are also not allowed to be
>nominated for the award.
>
>4. Three finalists for the award will be selected by a jury of specialists in
>electronic literature; N. Katherine Hayles will choose the winner from among the
>finalists.
>
>5. Because of the nature of online publishing, it is not possible to conduct a
>blind review of the submissions; the jury will be responsible for fair
>assessment of the work.
>
>6. Those nominated may only have one work considered for the prize. In the event
>that several works are identified for a nominee, the nominee will choose the
>work that he or she wishes to be juried.
>
>7. All works must have already been published or made available to the public
>within 18 months, no earlier than December 2012.
>
>8. All print articles must be submitted in .pdf format. Books can be sent either
>in .pdf format or in print format. Online articles should be submitted as a link
>to an online site.
>
>9. Nominations by self or others must include a 250-word explanation of the
>work’s impact in the field. The winner selected for the prize must also include
>a professional bio and a headshot or avatar.
>
>10. All digital materials should be emailed to elo.hayles.award@gmail.com by May
>15, 2014; three copies of the book should be mailed to Dr. Dene Grigar, Creative
>Media & Digital Culture, Washington State University Vancouver, 14204 NE Salmon
>Creek Ave., Vancouver, WA 98686 by May 15, 2014. Those making the nomination or
>the nominees themselves are responsible for mailing materials for jurying. Print
>materials will be returned via a self-addressed mailer.
>
>11. Nominees and the winner retain all rights to their works. If copyright
>allows, ELO will be given permission to share the work or portions of it on the
>award webpage. Journals and presses that have published the winning work will be
>acknowledged on the award webpage.
>
>12. The winner is not expected to attend the ELO conference banquet. The award
>will be mailed to the winner.
>
>Timeline
>
>Call for Nominations: April 15-May 10
>
>Jury Deliberations: May 15-June 10
>
>Award Announcement: ELO Conference Banquet
>
>For more information, contact Dr. Dene Grigar, President, Electronic Literature
>Organization: “dgrigar” at mac.com.
>
>“The Robert Coover Award for a Work of Electronic Literature”
>
>“The Robert Coover Award for a Work of Electronic Literature” is an award given
>for the best work of electronic literature of any length or genre. Bestowed by
>the Electronic Literature Organization and funded through a generous donation
>from supporters and members of the ELO, this $1000 annual prize aims to
>recognize creative excellence. The prize comes with a plaque showing the name of
>the winner and an acknowledgement of the achievement, and a one-year membership
>in the Electronic Literature Organization at the Associate Level.
>
>We invite critical works of any length and genre. Submissions must follow these
>guidelines:
>
>1. This is an open submission. Self nominations and nominations are both
>welcome. Membership in the Electronic Literature Organization is not required.
>
>2. There is no cost involved in nominations. This is a free and open award aimed
>at rewarding excellence.
>
>3. ELO Board Members serving their term of office on the Board are ineligible
>for nomination for the award. Members of the Jury are also not allowed to be
>nominated for the award.
>
>4. Three finalists for the award will be selected by a jury of specialists in
>electronic literature; Robert Coover or a representative of his will choose the
>winner from among the finalists.
>
>5. Because of the nature of online publishing, it is not possible to conduct a
>blind review of the submissions; the jury will be responsible for fair
>assessment of the work.
>
>6. Those nominated may only have one work considered for the prize. In the event
>that several works are identified for a nominee, the nominee will choose the
>work that he or she wishes to be juried.
>
>7. All works must have already been published or made available to the public
>within 18 months, no earlier than December 2012.
>
>8. Works should be submitted either as a link to an online site or in the case
>of non-web work, available via Dropbox or sent as a CD/DVD or flash drive.
>
>9. Nominations by self or others must include a 250-word explanation of the
>work’s impact in the field. The winner selected for the prize must also include
>a professional bio and a headshot or avatar.
>
>10. Links to the digital materials or to Dropbox should be emailed to
>elo.coover.award@gmail.com by May 15, 2014; three copies of the CD/DVDs and
>flash drives should be mailed to Dr. Dene Grigar, Creative Media & Digital
>Culture, Washington State University Vancouver, 14204 NE Salmon Creek Ave.,
>Vancouver, WA 98686 by May 15, 2014. Those making the nomination or the nominees
>themselves are responsible for mailing materials for jurying. Physical materials
>will be returned via a self-addressed mailer.
>
>11. Nominees and the winner retain all rights to their works. If copyright
>allows, ELO will be given permission to share the work or portions of it on the
>award webpage. Journals and presses that have published the winning work will be
>acknowledged on the award webpage.
>
>12. The winner is not expected to attend the ELO conference banquet. The award
>will be mailed to the winner.
>
>Timeline
>
>Call for Nominations: April 19-May 10
>
>Jury Deliberations: May 15-June 10
>
>Award Announcement: ELO Conference Banquet
>
>For more information, contact Dr. Dene Grigar, President, Electronic Literature
>Organization: “dgrigar” at mac.com.
Lance Olsen in Purple Blurb, Mon 5:30pm
“Lance Olsen is at the center of every discussion I have about the contemporary landscape of innovative and experimental writing.”
-Bookslut
Lance Olsen
April 7, 5:30pm
MIT’s Room 14E-310
Experimental writing & video
Including a reading from his recent book _[[ there. ]]_ and video from his _Theories of Forgetting_ project.
Lance Olsen is author of more than 20 books of and about innovative writing, including two appearing this spring: the novel based on Robert Smithson’s earthwork the _Spiral Jetty_, _Theories of Forgetting_ (accompanied by a short experimental film made by one of its characters), and _[[ there. ]]_, a trash-diary meditation on the confluence of travel, curiosity, and experimental writing practices. His short stories, essays, and reviews have appeared in hundreds of journals and anthologies. A Guggenheim, Berlin Prize, N.E.A. Fellowship, and Pushcart Prize recipient, as well as a Fulbright Scholar, he teaches experimental theory and practice at the University of Utah.
Read the Bookslut interview about Lance Olsen’s [[ there. ]].
More on the Purple Blurb series.
Purple Blurb takes place on MIT’s main campus in Building 14, the same building that is the home of the Hayden Library. 14E-310 in in the East Wing, third floor, across the courtyard from the library entrance (do not enter the library to get to 14E-310).
Purple Blurb is free and open to the public, no reservation required.
How to “Train” as a Writer
After a pilot program (or perhaps that should be “engineer program”?) in which one writer was gifted with a round-trip train ride, Amtrak recently announced that they will begin a larger-scale residency program which “will allow for up to 24 writers to take long-distance trains to work on their projects.”
The Poetry Foundation’s blog, Harriet, was all over this, but they soon posted about how problematic the official terms of the application are. This was originally pointed out at The Outlet.
For instance:
>In submitting an Application, Applicant hereby grants Sponsor the absolute, worldwide, and irrevocable right to use, modify, publish, publicly display, distribute, and copy Applicant’s Application, in whole or in part, for any purpose, including, but not limited to, advertising and marketing, and to sublicense such rights to any third parties.
There is also a note that applications will not (actually, “NOT”) be kept confidential. This seems like pretty standard fare for a corporate contest, actually, which doesn’t mean that it’s right, that all writers should agree to it, or that any should agree to it without understanding the terms.
Since applications aren’t going to be kept confidential anyway, here’s mine, or at least my at-most-1000-character answers to the two main questions. They mention some other issues that I have with the “Official Terms,” although these do not keep me from being interested in the residency:
Why do you want an #AmtrakResidency?
My work is computational, has many layers of meaning, and is often collaborative, and so much of it is prohibited by the #AmtrakResidency Official Terms, which disallow submissions that “Contain executable programming of any kind,” “Contain … encoded messages,” and “Contain content not created by and original to Applicant.” If awarded a residency, I’ll continue to defy official concepts of writing. Since this opportunity exists to promote Amtrak on social media, I’m also interested in showing how social media isn’t limited to this moment’s corporate systems. I can do this well, as I have been a blogger for more than 10 years, have served as president of the Electronic Literature Organization, and am a professor of digital media at MIT. Finally, the sequential, systematic qualities of trains relate to aspects of my writing process. Although I am not personally inclined to record their arrival and departure times, trains do appeal to me in ways that aren’t just nostalgic or romantic.
How would this residency benefit your writing?
I would have the opportunity to focus on writing work and to do one or more trip-specific digital poetry projects which would be made available for free on the Web. Network access is not important to me for work of this sort, and there is even some advantage to not being online. I’ve already written a great deal on Northeast Corridor trains, did some of the editorial work for The New Media Reader on a train to Chicago, and generally find train travel conducive to many types of writing, including creative digital work. I’ve done one collaboration in which we used Amtrak trains as a meeting place and point of departure: Three Rails Live, a computational video installation documented (in English and in French translation) at
Purple Blurb’s Digital Writing Events this Semester
Purple Blurb, MIT’s digital writing series organized by Prof. Nick Montfort of the Trope Tank, powers on, thanks to the four excellent writers/artists who will be presenting in Spring 2014. All events this semester will be held Mondays at 5:30pm in MIT’s room 14E-310.
March 10, 5:30pm in 14E-310:
Páll Thayer
Microcodes
Short Perl programs that are also artworks, presented for viewers to read, download, and execute. Thayer will trace some key steps showing how he went from his background in painting and drawing to presenting code as his artwork.
Páll Thayer is an Icelandic artist working primarily with computers and the Internet. He is devout follower of open-source culture. His work is developed using open-source tools and source-code for his projects is always released under a GPL license. His work has been exhibited at galleries and festivals around the world with solo shows in Iceland, Sweden and New York and notable group shows in the US, Canada, Finland, Germany and Brazil (to name but a few). Pall Thayer has an MFA degree in visual arts from Concordia University in Montreal. He is an active member of Lorna, Iceland’s only organization devoted to electronic arts. He is also an alumni member of The Institute for Everyday Life, Concordia/Hexagram, Montreal. Pall Thayer currently works as a lecturer and technical support specialist at SUNY Purchase College, New York.
April 7, 5:30pm in 14E-310:
Lance Olsen
Experimental writing & video
Including a reading from his recent book _[[ there. ]]_ and video from his _Theories of Forgetting_ project.
Lance Olsen is author of more than 20 books of and about innovative writing, including two appearing this spring: the novel based on Robert Smithson’s earthwork the _Spiral Jetty, Theories of Forgetting_ (accompanied by a short experimental film made by one of its characters), and _[[ there. ]],_ a trash-diary meditation on the confluence of travel, curiosity, and experimental writing practices. His short stories, essays, and reviews have appeared in hundreds of journals and anthologies. A Guggenheim, Berlin Prize, N.E.A. Fellowship, and Pushcart Prize recipient, as well as a Fulbright Scholar, he teaches experimental theory and practice at the University of Utah.
April 28, 5:30pm in 14E-310:
Scott Rettberg
Videos & combinatory videos
Produced in collaboration with Roderick Coover, Nick Montfort, and others, including: _The Last Volcano, Cats and Rats, Three Rails Live and Toxicity._
Scott Rettberg is Professor of Digital Culture in the department of Linguistic, Literary, and Aesthetic studies at the University of Bergen, Norway. Rettberg is the project leader of ELMCIP (Electronic Literature as a Model of Creativity and Innovation in Practice), a HERA-funded collaborative research project, and a founder of the Electronic Literature Organization. Rettberg is the author or coauthor of novel-length works of electronic literature, combinatory poetry, and films including _The Unknown, Kind of Blue, Implementation, Frequency, Three Rails Live, Toxicity_ and others. His creative work has been exhibited online and at art venues including the Chemical Heritage Foundation Museum, Palazzo dell Arti Napoli, Beall Center, the Slought Foundation, The Krannert Art Museum, and elsewhere.
May 5, 5:30pm in 14E-310:
Jill Walker Rettberg
Selfies
With examples from her own work as well as from photobooths, older self-portraits, and entries from others’ diaries, in her talk “Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to Understand Ourselves.”
Jill Walker Rettberg is Professor of Digital Culture at the University of Bergen in Norway. Her research centers on how we tell stories online, and she has published on electronic literature, digital art, blogging, games and selfies. She has written a research blog, jilltxt.net, since October 2000, and co-wrote the first academic paper on blogs in 2002. Her book _Blogging_ was published in a second edition in 2014. In 2008 she co-edited an anthology of scholarly articles on _World of Warcraft._ Jill is currently writing a book on technologically mediated self-representations, from blogs and selfies to automated diaries and visualisations of data from wearable devices.
From Finnegans Wake as Read by Samuel L. Jackson
_Now by a commodious vicus of recirculation – go the fuck to sleep._
Curious Conflations of Performance and Writing
In Nashville, Husky Jackal Theater has presented Terminator the Second, which enacts the story of Terminator 2 with a text composed entirely of lines from Shakepeare’s plays. Video is available.
Also, I have been watching a certain TV show set during the Korean War with a certain fan fiction author, and I believe the guys making passes at guys, wearing dresses, mugging with guys, etc. have suggested a new possible genre of writing that would have to be called S\*L\*A\*S\*H.
The Firewall .. is Us!
Slavoj Žižek did not write a twine game, but Alan DeNiro did. It’s called We Are the Firewall, and it has more rodents than Rat Chaos. It twists and communicates with the whole category of Twine games quite well, and the writing is quite compelling, and it’s well worth reading/solving.
DeNiro, by the way, is the author of (in addition to short stories and novels) the uncanny interactive fiction Deadline Enchanter, which I also recommend.