ed. by Markku Eskelinen
5.Jg. / Nr. 30 - ISSN 1617-6901
Fours Aces of Rhetoric Convergence | Moving Text in Avantgarde Poetry | Machine Produced Subjects in Swedish Prose | Simulation in Digital Games | Paradigms of Interaction | Digital Literature in the Information Society | Geography of a Non-Place | Poetry and Technology in the Swedish 1960s | Tubmud Ludology
Fagerjord presents a theoretical model of genre
relations in multimedia applying the four axes
Mode of Distribution (the balance of amount of
material and time between authoring and
reading); Mode of Restrictions (range and detail
in space and time); Mode of Acquisition (the
reading process required of the reader); and
Mode of Signification (the particular
combination of sign systems).
be kinetic in the poetic text? How does the
movement take place? Where does it take place?
What is the result of the movement? What (or
who) makes the text move? Teemu Ikonen
classifies types of possible textual movement in
poetry and traces the development of these types
in different media with a special regard to Gary
Hill's video art and Eduardo Kac's holopoetry
and multimedia art.
Ingvarsson's essay focusses on works of Swedish
prose fiction from the 1960-70's and raises
questions concerning the artificial subject,
along with discussions of game theory and
automation. His main object of study are Torsten
Ekbom's "strategic model theatre"
Spelmatriser för Operation Albatross
from 1966 portraying "human" subjects being
produced by machines.
Jarvinen's article on computer and video games
presents a generic model of the elements that
co-operate in producing a simulation that is
also a game. The model is applied into practice
with a case study that focuses on Grand Theft
Auto: Vice City (Rockstar Games, 2002) that
frames its gameplay by simulating certain traits
of popular culture in the 1980s.
Klastrup gives a selective overview of the use
of interaction as a concept in computer game and
literary theory in the last decades and
(re)defines and refines the concept, arguing
that we need to approach from a more stringent
perspective how interaction concretely functions
in both single-user and multi-user "text" forms.
She discusses the scope of interaction in
various genres, outlining three basic
interactive" text" types: static, pseudo-dynamic
and other Nordic countries, the infrastructure
is there, the literary culture and literacy is
there, and public access to literature, both
print and digital, is well organized. Ideal
circumstances. Does the (almost)
non-existence of digital literature in these
countries seriously undermine the belief in the
digital literature in general? Or is it rather,
that too strong a literary culture is foremost
an obstacle for the development of digital
literature? Raine Koskimaa discusses if there
is, indeed, a place for literature in the
information society, and if there is, where it
is, and how that literature would look like.
role-playing MUDs only the administrators have
power to access the information directly, all
others need to follow some path, which creates
an illusion of space and particularly of place.
However, the metaphors of physical movement are
powerful and enduring, to the point that Sherry
Turkle suggests that online is its own place.
But is the "place" I am accessing when I log on
to the net so alien compared to physical places?
Torill Mortensen discusses this on the
background of Mark Auge's concept of a
Olsson's essay deals with literary experiments
from the Swedish 1960s that elaborate and
differentiate the interface of poetry through
the use of various media (book, performance,
gramophone, etc). He challenges the
traditionally assigned roles of writers and
readers and articulates a threshold between a
'culture of expression' and a 'culture of
information', where the forms of poetry are
shaped by an attempt to write through the
databanks that inform and form (ideological)
ensembles of knowledge at a certain historical
juncture rather than by the search for the
perfect expression of an experience.
Tronstad examines the adventure oriented
Multi-User Dungeon Tubmud in the light of
various theories on play and games, in order to
define a methodology suitable to capture the
specific game-like aspects of the MUD. As it
turns out Tubmud is too diverse a
phenomenon to be conceptualised as one kind of
game but is rather a game environment comprising
different kinds of games, which all needs to be
ed. by Markku Eskelinen (Editorial)