'Toilets' was meant to be read as a bathroom-book. Two young people move into the same apartment, while they have only just met each other. The odd thing about the apartment is that it has two toilets. A great luxury, but after a while the two toilets become a fort.
't Hooft uses focus blocks. If you tap on the screen a new focus block appears.
Toiletten (84 bladzijdes, knalroze kaft) was ooit bedoeld als een goed wc-boek. Een verademing na alle wijzespreuken- en moppenboeken, maar nog steeds één hoofdstuk per boodschap.
Mijn debuutroman, over een jong stel dat gaat samenwonen in een klein appartement waar vreemd genoeg twee wc’s zijn.Tien jaar later is er de jubileum-app, waarin je Toiletten op een nieuwe manier leest: met focusblokken. Tik je onder in beeld, dan komt het volgende blok uitvergroot naar boven. Luister je liever? Met de afspeelknop zet je stemacteur Sjors Houkes aan het werk.
Gone Home takes place entirely in one environment—literally a home—and relies on found objects like receipts, personal notes, ticket stubs, and phone messages to further its plot. In doing so, the game goes beyond the story’s central mystery and delves into the inner workings of teenage rebellion, marital strife, and love. Gone Home’s intimate nature, strong storytelling, and ambitious scope has garnered heavy accolades for both the game and The Fullbright Company studio, including an IndieCade Audio Award, two Spike VGX awards, and a 9.5 rating on IGN.
Source:http://getinmedia.com/articles/game-careers/steve-gaynor-designing-gone…
This paper analyzes the concepts of love and womanhood in the web serial novel Three Lifetimes, Ten Miles of Peach Blossoms (hereafter abridged as Three Lifetimes). As one of the most popular and representative works of its subgenre, “love story of immortals in a classical Chinese style,” this novel tells of a romance between Bai Qian, a 140,000-year-old female immortal, and Yehua, a 50,000-year-old male immortal. Author argue that the novel offers a false sense of feminism by analyzing its themes of love and womanhood and comparing the protagonists’ personality traits, de/merits, and experiences with those in three other love stories.Firstly this work compare Three Lifetimes with another web serial novel of the same subgenre, A Debt of Peach Blossom. It is a romance between two male immortals, Song Yao and Hengwen. Author demonstrate that Bai Qian and Song Yao, the first-person protagonists of the two stories, share certain personality traits including indolence, casualness, and light-heartedness; at the same time, Song Yao does not come from a privileged family background and thus lacks high rank in the heavens as well as peerless physical beauty, the advantages which Bai Qian and Yehua both have. Yehua’s personality traits and merits also include discretion, staidness, courage, patience, self-sacrifice, stead-fastness in pursuing love, and talents in many kinds of fields. Inferior to Yehua, Hengwen is described as a handsome and erudite immortal of lower status.Then author call attention to the difference between Three Lifetimes and two folktales which also present love stories of a female immortal. The female protagonists of both folktales, the Weaver Girl and the Seventh Fairy, are immortals of relatively low status and diligent wives of impoverished, simpleminded farmers, the Cowherd and Dong Yong. Their tragic stories are both thematized by the female immortal’s fearless pursuit of love, self-sacrifice for her mortal husband, and disdain for the sovereignty and glory of the heavens. These themes form a contrast to that of the happy marriage between Bai Qian and Yehua, which is arranged on the basis of their high status.The analysis demonstrates that Three Lifetimes endows Bai Qian with enviable natural advantages and good fortune, which enable her to win greater admiration than her male counterpart in a contemporary novel and to experience a degree of gender equality absent from the folktales about her female counterparts. The most significant indication of her high status is displayed by Yehua’s efforts to marry her, which results in the major part of her good fortune. Their relationship seems to represent a feminist ideal of love and womanhood. However, author argue that Bai Qian possesses few virtues which deserve admiration and makes little effort to achieve any goals, including her happy marriage. Instead, her good fortune is greatly determined by Yehua’s capabilities and endeavours. In their relationship, the male character plays a leading role, while the female character obeys patriarchal authority and never displays any intention or ability to decide her own destiny. Thus, her happy ending only represents a false sense of feminism.
"StoryFace" is a digital fiction based on the capture and recognition of facial emotions.
The user logs onto a dating website. He/she is asked to display, in front of the webcam, the emotion that seems to characterize him/her the best. After this the website proposes profiles of partners. The user can choose one and exchange with a fictional partner. The user is now expected to focus on the content of messages. However, the user's facial expressions continue to be tracked and analyzed…
What is highlighted here is the tendency of emotion recognition devices to normalize emotions. Which emotion does the device expect? We go from the measurement of emotions to the standardization of emotions.
StoryFace was re-published in The New River in 2018.
Mind the gap between digital journalism and eletronic literature. In the digital age, how to write about the search for love? Using fiction or non fiction? The question is that a new epistolary literature is being written in cell phones, e-mails, apps and dating sites. How different is it in comparison with the old love letters people used to write to their soulmates? In a mix of netnography, journalism and digital storytelling, me and other 25 brazilian researchers infiltrated ourselves into this universe for the last five years. The idea was not to publish a tradicional print work for newspapers or a linear story. We created avatars, made hiperlinked articles describing each site or app we visited and also wrote field journals about our experience. It is an experience of multimedia storytelling whose original question, the search of a soulmate using the internet to extend our chances in the virtual world, work as a metaphor for the journalism chances to find unprecedented paths exploring new narrative strategies in digital media. It also highlingts a change in the reader's position, who doesn't want to wait anymore to watch the development of the stories by the authors and want to find his own path, make new relationships or join new social groups. And, with this, construct new stories.
The poem is an interactive experience. You can play with the words and the spanish sounds to make your own audiovisual construction.
You can know more of her and her work on http://www.uvm.edu/~tescaja/home.htm
El poema es una experiencia interactiva. Puedes jugar con las palabras y los sonidos españoles para hacer y crear tu propia construcción audiovisual.
Puedes saber más sobre ella y su trabajo en http://www.uvm.edu/~tescaja/home.htm
McKenzie Wark explores the work of Masha Tupitsyn as a pathway into the conditions of life in the 21st Century, somewhere above (or below) the framework of mediated experience, even beyond the limits of what we often call “theory.” With Tupitsyn, Wark troubles the current stasis of representation that stultifies thought in this age of unrepentantly industrialized culture, not by turning us away from the spectacle, but by smashing right through it, picking up its pieces, and discovering new things in the wreckage.
Source: Abstract
Intimate Fields is a compact installation work that can be placed on a small table for display. The installation consists of a wooden laser cut box with multiple compartments. The box is embedded with an NFC (Near Field Communication) chip reader connected to a Raspberry Pi and miniature thermal printer. Items in the box include printed scrolls and notes containing NFC stickers, textile items containing knotted codes, and a series of five ceramic/steel rings with embedded NFC chips. On touching the scrolls, notes and rings to the NFC reader, scripts are triggered to generate love poetry remixed from a range of historical and contemporary texts. The poetry snippets are simultaneously printed locally and posted automatically to twitter. The individual printed messages can be taken away by the viewer as a keepsake. The box plays upon the concept of the “poesy”or “posy ring”, a jewelry item customarily used in the early modern period to convey messages of love, fidelity and faith. Examples of these rings are held in archives such as the Ashmolean. The embedded chips in the modern rings enable a new type of “secret message” to be performed as a work of networked electronic literature, while calling back to the physically intimate nature of the original wearable item. Materials: Wood, paper, textiles, NFC-embedded components, electronic components, thermal printer. Technical requirements: Internet access, electrical outlet. Accompanying computer and screen (or laptop) to display live twitter feed (optional).
(Source: ELO 2017: Book of Abstracts and Catalogs)
"Sam was brushing her hair when the girl in the mirror put down the hairbrush, smiled, and said, "We don't love you anymore." So began the Twitter Audio project, with a dazzling first line penned by New York Times best-selling author Neil Gaiman. What followed was an epic tale of imaginary lands, magical objects, haunting melodies, plucky sidekicks, menacing villains, and much more. From mystical blue roses to enchanted mirrors to pesky puppets, this classic fable was born from the collective creativity of more than one hundred contributors via the social network Twitter.com in a groundbreaking literary experiment. Together, virtual strangers crafted a rollicking story of a young girl's journey with love, forgiveness, and acceptance. (Source: Goodreads)
A computer mystery/romance set five minutes into the future of 1988. I can guarantee at least ONE of the following is a real feature: discover a vast conspiracy lurking on the internet, save the world by exploiting a buffer overflow, get away with telephone fraud, or hack the Gibson! Which one? You'll just have to dial in and see. Welcome to the 20th Century.
(Source: Authors's statement, ELC3)
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Christine Love’s Digital: A Love Story is a visual novel set “five-minutes into the future of 1988” and invites the player back into the early days of the Internet through the interface of an Amiga-esque computer. The graphical interface of white text on a blue background accompanies the metaphor of the local BBS (bulletin board system) as a happening space for conspiracy and flirting. All the core interaction takes place through dialing into this system, which has multiple characters and threads that can be explored through sending out replies to advance the story. The work is strongly grounded in early hacker culture and William Gibsen-inspired models of artificial intelligence.
(Source: Editorial Statement, ELC3)
Windows, Mac, and Linux versions available (downloadalbe at ELC3 site).