Malloy's interview with Moulthrop focuses on his early work, his entrée into writing hypertext and his hypertext novel Victory Garden, the "mostly mythical" artists' collective TINAC, and one of his later works, Under Language. The interview appears on the Authoring Software project.
In this interview with Young-Hae Chang Heavy Industries by Thomas Swiss the duo describes artistic and cultural influences, and discusses web writing.
To write, read, and chat in English on the Internet is to implicitly justify a certain history. Certain governments don't ban or burn books anymore, they prevent access to the Web, meaning they justify a different history than the one we do by using English.
It's pretty obvious that the "tone" or "voice" of Internet literature is more distant and difficult to "locate" than traditional writing. Mere book packaging tells a lot about the book and the author; browser packaging is generic.
An interview with the self-described digital poet Jason Nelson on the semiotic pleasures of playing and creating "art-games," indie works produced outside corporate game studios, which, Nelson predicts, will eventually be recognized as the most significant art movement of the 21st century. While explaining how he came to be a digital author, Nelson addresses topics such as his continued love of Flash as a production tool, despite its likely obsolesence, his appreciation for gamescapes that allow for aimless wandering, and the intense reactions his art-games provoke in players. Alluding to the fact that Digital Poet is not the most lucrative of professions, Nelson signals his desire to design "big budget console games," provided he could do so on his terms.
(Source: Eric Dean Rasmussen)
Art games require your attention, require your brain to be consumed by the screen. I imagine that is why I get such dramatic responses. I am asking the audience to inhabit my creations, asking them to play/exist inside a bizarre, messy and at times highly illogical and abstract artscape.
With little or no funding small teams of indie producers are creating brilliant experiences that make corporate productions look like embarrassing advertisements for video cards. Some future historian will write about the games currently being built by these creators and label them as THE important art movement of the 21st century.
If the abstract artist Basquiat, Mario Brother's creator Miyamoto, and writer James Joyce had a child that grew up in an amusement park and was raised by Steampunk robots, that child would be my art-games.
An interview with Young-hae Chang Heavy Industries in Dichtung Digital. The interview touches upon different topics, such as: the work process, the use of languages, connections to concrete poetry, cinematic effects, non-interactivity and the "Korean problematic".
Interview with the author and designer of Writing Machines.
The interview focueses on McGonigal's work in alternate reality gaming.
The first time I told this story at a lecture, an audience member challenged me: "You puppet masters must really get a kick out of manipulating these players to do whatever you want. That must be such a power trip." But in fact, the opposite was true. We didn't get a rush of power when the players misinterpreted our simple welcome message. We actually felt completely out of control.
Stories linger in the places after we experience them. And the stories we tell about our personal experiences in a place help us own that space, to feel comfortable there, to make others comfortable there, to feel alive there. I believe the job of the designers of reality-based games like big urban games and alternate reality games is to figure out: What kind of story would players want to be able to tell about this space?