By ELMCIP, we mean Electronic Literature as a Model of Creativity and Innovation in Practice, a research project that extends throughout Europe and is funded by the Humanities in the European Research Area (HERA) JRP for Creativity and Innovation. ELMCIP is a project to try to understand creative communities working in electronic literature. Among the many involved parties are friends and collaborators Scott Rettberg (the project leader) and Jill Walker Rettberg.
In describing the newly opened Knowledge Base, Scott writes:
We are still working on the design and some features are still in progress but we are happy enough with the work-in-progress to open it up to more readers and contributors. I hope that you will join us in developing this important resource. We need your help to make a good platform into a great resource.
Here, as it stands, is the list of works in the Knowledge Base. Take a look, even if you want to browse, but particularly if you think you may wish to contribute.
Almost a decade after the project began, the IF Theory Reader is finally here, thanks to the hard work of editors Kevin Jackson-Mead and J. Robinson Wheeler. The book has been published by Transcript On Press and has made it out in time for PAX-East, where Kevin’s group The People’s Republic of Interactive Fiction will be hosting a hospitality suite.
My own contribution, “Toward a Theory of Interactive Fiction,” has a first page which (except for the title of the article) is entirely occupied by a footnote. Perhaps ominously. I did, however, revise the article for the N+1th time, trying to make it a bit more accessible. I began writing this particular piece back when this book project was first being formulated, and am very, very glad to have it officially published after all these years.
The compendium of writing about interactive fiction that we finally have here includes 26 articles – the same number, I should mention, as there are letters of the alphabet:
Crimes Against Mimesis – Roger S. G. Sorolla
Toward a Theory of Interactive Fiction – Nick Montfort
Characterizing, If Not Defining, Interactive Fiction – Andrew Plotkin
not that you may remember time: Interactive Fiction, Stream-of-
Consciousness Writing, and Free Will – Mark Silcox
2 Brief Dada Angels – Ryan Stevens, writing as Rybread Celsius
Object Relations – Graham Nelson
IF as Argument – Duncan Stevens
The Success of Genre in Interactive Fiction – Neil Yorke-Smith
Parser at the Threshold: Lovecraftian Horror in Interactive Fiction – Michael Gentry
Distinguishing Between Game Design and Analysis: One View – Gareth Rees
Natural Language, Semantic Analysis, and Interactive Fiction – Graham Nelson
Afterword: Five Years Later – Graham Nelson
Challenges of a Broad Geography – Emily Short
Thinking Into the Box: On the Use and Deployment of Puzzles – Jon Ingold
PC Personality and Motivations – Duncan Stevens
Landscape and Character in IF – Paul O’Brian
Hint Development for IF – Lucian Smith
Descriptions Constructed – Stephen Granade
Mapping the Tale: Scene Description in IF – J. Robinson Wheeler
Repetition of Text in Interactive Fiction – Jason Dyer
NPC Dialogue Writing – Robb Sherwin
NPC Conversation Systems – Emily Short
10 Years of IF: 1994–2004 – Duncan Stevens
The Evolution of Short Works: From Sprawling Cave Crawls to Tiny Experiments – Stephen Granade
History of Italian IF – Francesco Cordella
Racontons une histoire ensemble: History and Characteristics of French IF – Hugo Labrande
Again, congratulations to Kevin and Rob, and thanks to my fellow authors. I’ve read many of these articles before; I’m looking forward to sitting down and reading everything, previously seen and unseen, in this excellent codex.
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.
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.
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.)
“Code of Best Practices In Fair Use For Poetry” has just been released by the Harriet Monroe Poetry Institute. “Poetry” as a cultural force, in the popular consciousness, is very traditional, but poets of course also have undertaken some of the our most unusual, avant-garde writing. The document gives a hint of the wide sweep of poetic practice while showing that poetry has long played host to quotation, parody, and other remixological practices. And the “Code” achieves its main purpose of outlining common sorts of writing and use that fair use seems to cover, as poets see it. I’m glad to have been involved in some of the meetings that led to this document. I hope it will helpful us continue the discussion about alternatives to cultural lockdown, bringing in the perspectives, not of industries, but of the creators of different sorts of culturally significant work.
The “Code” was compiled in collaboration with American University’s Center for Social Media and its Washington College of Law. Those who attend AWP can pick up free printed copies of the document; The PDF is online now.
Audio podcasts of the events at the Boston Book Festival are now online – along with some videos. Whether you were one of the 25,000 attendees or not, you can catch some of the 2010 festival via the Web. The panel that I was on, “The Novel: A Prognosis,” can be heard right here.
I’ve recently returned from a great trip to Mexico City. I was at the 5th Mexican International Colloquium on Computational Creativity presenting alongside two other foreign guests, Graeme Ritchie and Dan Ventura, and two local researchers, Rafael Pérez y Pérez and Eduardo Peñaloza. There was a productive and lively roundtable on interdisciplinary work and collaboration the day before the talk, too. Rafael Pérez y Pérez, a collaborator of mine, arranged the colloquium and was a very gracious host, making sure that we got to and from the airport, to all of the colloquium events, and to several excellent meals.
I have a few things to mention about the 5th MICCC, but I’d like for this post to be mainly forward-looking rather than backward-looking. That’s because ICCC-11, the 2011 International Conference on Computational Creativity, is an event on the same topic as this recent colloquium, and it will be taking place in the same city thanks to the local organizing work of our wonderful host, Rafael. Although the colloquium was intellectually rich and I enjoyed visiting Mexico City for its own sake, I was also very pleased because I was anticipating this larger-scale academic gathering that will be taking place April 27-29. In part, I was reminded of the conference because I and the other organizers, Rafael, Graeme, and Dan, spent a good bit of the time working to make the remaining decisions and to prepare for ICCC-11. But even just walking around the city, I had in mind how much other computational creativity researchers would enjoy coming to México.
At the colloquium, I was the only one who didn’t discuss a large-scale system that is somehow related to the creative process. (I do have a such a system, Curveship, but I wanted to focus on something else in this talk.) I spoke about creative computing and the relationship that this area has to computational creativity. In creative computing, the computer is seen as a medium and platform for human creative work. There’s a strong relationship between this area and computational creativity, but there are some distinctions, too. I spoke about a very short, simple Commodore 64 BASIC program:
10 PRINT CHR$(205.5+RND(1)); : GOTO 10
This one-line program is the focus of a deep investigation that I am undertaking with nine other authors. We plan for this study to result in a single-voice academic book – not an edited collection, not a “chapter book” with separately authored segments, but something that reads like a single-author book but is written by ten people. We are still in the early stages of writing this book, but it’s our hope that 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 by Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mark Marino, Michael Mateas, C. E. B. Reas, Mark Sample, and Noah Vawter will be published by the MIT Press in 2012. (Yes, the book’s title is the program itself.) Since the colloquium focused on interdisciplinary work and collaboration, this seemed like a nice project to discuss, even though the ten of us working on this project are not trying to model the creative process using computation. I described how the study of this program shed additional light on the relationship between platform and creativity, and how it suggested that computational creativity models try to take into account that relationship.
The other talks offered some excellent descriptions of and discussions of computational creativity systems: MEXICA, DARCI, and STANDUP (along with its predecessor, JAPE). These systems, and the things that have been done with them, are all great examples of creative computing, by the way, in addition to being computational investigations of creativity! I could do a post this long covering just the new thoughts that have come to me about these projects, each of which I knew about before. For now, I’ll refer you to the abstracts and links for more on those projects.
Coming up: The 2011 International Conference on Computational Creativity, April 27-29 in Mexico City
I’ve been to Mexico City before, but this was my first trip to the city’s main square, the Zócalo. This is the area where ICCC-11 will take place. It’s an amazing sight. You can see that Mexico City is mind-bogglingly big as you fly in, but the Zócalo is massive in a different way. The plaza and the area is human-scale (designed for pedestrians and very walkable, with many shops and restaurants) while also being tremendous and impressive. On the north is the cathedral; the National Palace, where President Calderón works, is to the east. An enormous Mexican flag flies from the National Palace during the day. To the west are several buildings, including the Best Western Majestic Hotel, which will be offering a discounted rate for ICCC-11. Just off the plaza, between the Cathedral and the National Palace, is where ICCC-11 will be held – at La Casa de la Primera Imprenta. The first printing press in the Americas was installed in 1536 in this building. It now offers a conference facility of just the right size for ICCC-11 presentations and demos, several galleries, and a bookstore.
The Autonomous Metropolitan University, Cuajimalpa is the host institution for ICCC-11, which is also supported by UNAM’s postgraduate program in computer science and engineering. The colloquium that UAM-Cuajimalpa put on with UNAM was well-attended by students and faculty who had some good questions for us. I know that we will have great local arrangements for ICCC-11; the participation we had in the colloquium suggests that we will be part of some good conversations (and, no doubt, see some good presentations and demos) from local ICCC-11 attendees.
So, I hope to see you readers who work in computational creativity in Mexico City at the end of April. I’m the publicity chair for ICCC-11, but in addition to publicizing the conference, I’m glad to email with anyone who has questions about the conference or about visiting Mexico City. And, remember that the deadline for submissions (of short papers, long papers, or show-and-tell proposals) is December 13, less than a month away now: The call for papers has the details, and there is more information on other parts of the ICCC-11 site.
The Curveship Codefest today was all I hoped it would be – a source of ideas, a way to discuss how to progress toward release, and even a time for the development of several fiction files (games) and spin files (specifications for narrating), some profound, some amusing, some both. I have received some very useful patches, representing the first contributions to the core Curveship code from others since I started this project in 2006. It looks like – with some serious work on my part, and with further consultation from the Curveship cognoscenti – Curveship can finally be ready for release in a few months.
I want to thank everyone who participated in the codefest today, from Amaranth to Zarf. So I will: Thank you, Amaranth, Angela, Brad, Doug, Jake, Jason, Kevin, Luis, Flourish, Fox, Ralph, and Zarf! Communities represented at the fest included the Boston area IF community, MIT’s Programs in Writing and Humanistic Studies and Comparative Media Studies, and the MIT Media Lab. In particular, thanks to Flourish for breakfast and lunch food for everyone; thanks to Zarf for the cookies; thanks to Amaranth and Brad for the donuts; and thanks to Fox for suggesting the event in the first place.
Thanks to all who came by to the Tuesday book release party for Riddle & Bind at Grafton Street. Riddles were pondered (and some solved) and many good times were had. Jason Scott stopped by, driving up from his archival compound in New York State! Recently kickstarted Andrew Plotkin (a.k.a. Zarf) was there, too. Fiction writer Ralph Lombreglia, my mentor from Boston University, was one of several current colleagues from MIT’s Writing and Humanistic Studies who stopped by despite their teaching and event schedules – thanks as well to Bill Corbett, Ed Barrett, and Magdalena Rieb. All right, enough shout-outs for now. I do appreciate all of you who were able to come by and celebrate the publication of Riddle & Bind.
A special event: The People’s Republic of Interactive Fiction is hosting a session in which we’ll play The Lurking Horror, October 31, 2-5pm, MIT’s room 4-145. We’ll take a tour of some MIT campus locations that inspired the ones in this game, and David Lebling, the Infocom implementor who created the game, will be joining us.
Also, remember that there’s a Tuesday Nov 2 book party for the release of my Riddle & Bind, at Grafton St. in Harvard Square, 6-9pm. And on Sunday Nov 7 we’ll have a codefest where people can work on games in Curveship, or on the core system, if they like. Contact me (the login name is “nickm”, the domain to use is this one) if you’d like to join us for that event.
My book Riddle & Bind (with an official publication date of October 31) is out. One day Amazon will have an image of the cover. But for now, anyone can order it through Spineless Books or Amazon, and … there’s a book release party here in Cambridge, in Harvard Square:
Grafton Street Restaurant and Bar
1230 Massachusetts Ave.
Cambridge, MA 02138
Tuesday November 2
You’re invited to stop by, peruse the book, and hang out with us. The book will be available for sale, too, but if you just want to come by and flip through it, or try to crack the code of Christian Bök’s encrypted back-cover blurb, that’s fine too. Grafton Street serves fine food and drink, and you’re welcome to purchase yourself some of it – there are no retail obligations, though. I’ll hope to see you there.