ergodic literature

The dissertation’s main point of departure is the clash between explicit and implicit presuppositions, conceptualisations and generalisations in print-oriented literary theoretical paradigms and a plenitude of empirically verifiable anomalies and counter-examples to them found in digital and ergodic works of literature. The behaviour of these counter-examples is explained by cybertext theory that addresses the often neglected issue of the variety of literary media. Both the empirical counter-examples and the empirically verifiable differences in the behaviour of literary media allow us to expand and modify literary theories to suit not just one traditionally privileged media position but all of them. Therefore, in the first half of the dissertation, literary theory and narratology are viewed and modified from the perspective of slightly revised cybertext theory. In this process theories of ergodic and non-ergodic literature are integrated more closely and several so far non-theorized ways of manipulating narrative time, regulating narrative information, and generating narrative instances are located and theorized. In the second half of the dissertation, the role of cybertext theory and the position of ergodic literature are reversed as they are viewed from the perspectives provided by ludology and game ontology. This is necessary to better situate ergodic literature in the continuum of other ergodic phenomena and between interpretative and dominantly configurative practices. To this end a provisional and formal paradigm of ludology is first constructed and synthesized from previous ludological research and then applied to newer forms and genres of ergodic literature such as textual instruments.

(Source: University of Jyväskylä)

Most studies of digital media focus on elements familiar from traditional media. For example, studies of digital literature generally focus on surface text and audience experience. Interaction is considered only from the audience's perspective. This study argues that such approaches fail to interpret the element that defines digital media -- computational processes. An alternative is proposed here, focused on interpreting the internal operations of works. It is hoped that this will become a complement to (rather than replacement for) previous approaches. The examples considered include both processes developed as general practices and those of specific works. A detailed survey of story generation begins with James Meehan's Tale-Spin, interpreted through "possible worlds" theories of fiction (especially as employed by digital media theorists such as Marie-Laure Ryan). Previous interpretations missed important elements of Tale-Spin's fiction that are not visible in its output. Other story generation systems discussed include Minstrel, Universe, Brutus, and Terminal Time.These reveal the inevitably authored nature of simulations of human behavior. Further, the persistently anthropomorphizing approach to computational processes present in traditional artificial intelligence (and many critiques) is contrasted with authorship. Also discussed is Christopher Strachey's love letter generator for the Manchester Mark I -- likely the first work of digital literature, and arguably the first digital art of any kind. As with Tale-Spin, an interpretation of its processes offers more than output-focused approaches. In addition, this study considers works with algorithmic processes carried out by authors and audiences (rather than within the works) created by Raymond Queneau, Tristan Tzara, and Claude Shannon. Prior theoretical concepts are engaged, including Espen Aarseth's "cybertext," Michael Mateas's "expressive AI," and Chris Crawford's "process intensity." A set of concepts and vocabulary are proposed, beginning with the simple distinction between "surface," "data," and "process." Further chapters introduce the terms "implemented processes," "abstract processes," and "works of process." The most unfamiliar new term, "operational logics," names behavioral elements of systems that can be as elemental as gravity or as high-level as a quest structure. The computer game Fableembodies the strengths and weaknesses of using the same logics to drive graphical and linguistic behavior.

(Source: LABS: Leonardon ABstract Service)

This article presents a critical review (not a rejection) of the concept of “ergodic literature”when applied to computer and video games. Therefore it goes back to some ofthe sources Espen Aarseth triggered when he appropriated the term from physics in1997 for the subject of cybertext and explains the necessary consequences of the term“ergodicity” for literature and games when it is not merely used metaphorically. A morecautious use of terms and concepts from other disciplines is suggested, especially as theterm “ergodic” in physics has a different but relevant meaning in the context of thesegames. The article tries to mediate between some of the general anthropological claimsof cybertext theory/game studies and the understanding of “ergodic systems” in thermodynamics and statistical physics. The problems that result from this mediation can beseen as symptomatic for the challenges of game studies in the more general mediationbetween different perspectives on games.

(Source: Author's abstract)

The emergence of a new phenomenon – digital literature – within the field ofliterary studies calls for the reorganization and creation of new theoretical andanalytical repertoires. As models of communication change, so doreception and production processes accompanying these changes. Within thesealtered scenarios, the dissertation Digital Literature: Theoretical and AestheticReflections is a response to the aesthetic and theoretical challenges brought on bycomputer-based literature. As a methodological strategy, the dissertation articulatesrecent trends in the theory of digital aesthetics – remediation (BOLTER),eventilization (HAYLES), correlations of performativity, intermediality andinteractivity with meaning-driven analysis (SIMANOWSKI), Medienumbrüche(GENDOLLA & SCHÄFER) – with theories of production of presence(GUMBRECHT), autopoietic communicative models (LUHMANN) and closereadingsof digital works. By scripting a dialogue with key theorists from printliterary theory as well as new media theorists and artists in the burgeoning field,the thesis offers conceptual and theoretical contributions to the formulation of apoetics of new media.

The first volume of the Cybertext Yearbook.

Note: All articles published in the Cybertext Yearbook series are now also published on the Cybertext Yearbook Database.

The Cybertext Yearbook publication series started in 2000. Since 2003 the volumes have mainly been theme based. The main editors are Markku Eskelinen and Raine Koskimaa. There are also guest editors for theme issues. Despite the name, the volumes don't necessarily appear annually.

This study investigates the effects of digitization on literature and literary culture with focus on works of literary fiction and other kinds of works inspired by such works. The concept of "hyperworks" refers to works intended to be navigated multisequentially, i.e. the users create their own paths through the work by making choices. The three articles that make up the dissertation include analyses of individual works as well as discussions of theoretical models and concepts. The study combines perspectives from several theoretical traditions: narratology, hypertext theory, ludology (i.e. game studies), sociology of literature, textual criticism, media theory, and new media studies. This study investigates the effects of digitization on literature and literary culture with focus on works of literary fiction and other kinds of works inspired by such works. The concept of “hyperworks” refers to works intended to be navigated multisequentially, i.e. the users create their own paths through the work by making choices. The three articles that make up the dissertation include analyses of individual works as well as discussions of theoretical models and concepts. The study combines perspectives from several theoretical traditions: narratology, hypertext theory, ludology (i.e., game studies), sociology of literature, textual criticism, media theory, and new media studies. The first article examines narrative technique and aspects of ergodicity in the digital hyperwork afternoon, a story (1997) by Michael Joyce. The main focus is on an analysis of the work’s structural organization and narrative technique. The second article proposes a theoretical framework for the analysis of texts and works in different media, especially focusing on the media structure (i.e. linking, navigation, storage, presentation, etc.) The third article analyzes and describes the ludolization, i.e., transposition into game form, of J. K. Rowling’s novel Harry Potter and the Philosopher’s Stone (1997). The study is a comparative analysis of the PC version of the computer game Harry Potter and the Philosopher’s Stone (2001) and the original novel, and discusses the media structure and the narrative/ludic structure of the two works. The concepts of ergodicity, cybertext, and content space are especially central to the study. Among the new concepts introduced are omnidiscourse, omnistory, performed discourse, performed story, lateral structure, hyperliterary competence, core ludic sequence, and performed ludic sequence. Also, a method for the analysis and description of links, i.e. a linkology, is presented along with new terms such as linkarium, ancoral text, adlink, and exlink.