![]() ![]() In Phantasmal Media, beginning with a review of his own path to interactive narrative - in search of ways "to algorithmically retell stories from multicultural perspectives" - Harrell credits the influence of Ralph Ellison's Invisible Man, which "weaves together profound social critique, experimentation with prose style and narrative structure, imaginative (even borderline science-fiction) events, and verbal imagery".Īs documented in his book, the process with which Harrell's own practice has evolved is of interest to fellow creators of new media narrative. Du Bois's definition of "double consciousness", Chameleonia responds to gestures and environment and in the process transforms a user's avatar, while at the same time the avatar's shadow mutates differently - confronting the user with a virtual environment where an individual's self-conception is different from the way that individual is viewed by society. In this fascinating book of shifting definitions, that in their very mutability illustrate an elusive concept, Harrell initially explores "phantasm", not only in new media but also in print, film, and music, pointing for instance to Akira Kurosawa's Rashomon, where "Meaning is constructed as a blend of the concrete knowledge that the event did take place and the shifting, conflicting reports given by the characters amid a cinematic forest scene dappled by shadow and light."Ĭontingently, he illustrates the use of phantasm in new media with Chameleonia: Shadow Play, created in Harrell's Imagination, Computation, and Expression Laboratory (ICE Lab) at MIT. ![]() To this end, for those who work on the fertile borders of content and code, Fox Harrell's Phantasmal Media is required reading. ![]() In contrast, although there is energy in this seemingly never-ending struggle, creators of new media must constantly rise above evolving technologies and look to the meaning of the work as a whole. Print poets have thousands of years of lineage of the constraints of writing poetry and thus an inherent heightened ability to compose, whether intuitively or with deliberatively imposed constraints. The creation of electronic literature, literary games, and content-intense interactive art involves a complex combining of content and code/authoring system, as well as a consideration of user interface and the ability to put it all together - whether the writer's vision is to emphasize the constraints or to create a work where the constraints are not apparent to the reader. These new meanings can be composed in response (discrete or continuous) to user interaction."" - Fox Harrell " Expressive computing system developers can create digital stories, poems, or games in which aspects of content, such as theme, plot, emotional tone, metaphorical expression, or imagery, can vary improvisationally with user interaction.In addition to the new meanings generated in each new single session, new meanings emerge from the contrast between multiple readings or play sessions. ![]() MLA2013 Includes an Exhibition of Electronic LiteratureĮlectronic Literature Organization Moves to MIT Program Features Presentations, Exhibitions, Performances, and a Pedagogy Colloquium The 2014 Electronic Literature Organization Conference,Ĭhercher le texte: the 2013 Conference of the Electronic Literature Organization Brings Electronic Literature to the Public in Paris, September 23-28Į-Poetry 2013, Kingston University, London in June The 2015 Electronic Literature Organization Conference, The 2016 Electronic Literature Organization Conference, ![]()
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