-- TIR-W Volume 9 no. 2 July 2008 Instruments and Playable Text: Stuart Moulthrop
    Under Language: Stuart Moulthrop
    Concerto for Narrative Data: Judy Malloy
    activeReader: Elizabeth Knipe
    So Random, PiTP: Shawn Rider
    riverIslandQT: John Cayley
    The Purpling: Nick Montfort

-- TIR-W Volume 9 no. 1 August 2007
    Multi-Modal Coding: Jason Nelson, Donna Leishman, and Electronic Writing
    Interviews: Jason Nelson, Donna Leishman
      Biographical Background
      Reception | Role of the Reader
      Interface
      Work Process
      Electronic Literature Community
      Future Work
      Secrets
      Space | State
      Connect Digital | Material Games
      Potentials of the Field
    Essays:
      The Artists on Each Other's Work
      Talan Memmott's Commentary on Each Artist
    Artworks:
      Deviant
      Leishman Site
      Pandemic Rooms
      Nelson Index

-- TIR-W, Volume 8 no. 3, September 2006
    Interview with Dan Waber; Rita Raley
    five by five; Dan Waber bio and Jason Pimble
    TLT vs. LL; Ted Warnell
    Interview with David Knoebel; Rita Raley
    Heart Pole; David Knoebe
    Interview with Aya Karpinska; Rita Raley
    mar puro; Aya Karpinska
    The Nihilanth: Immersivity in a First-Person Gaming Mod; Sandy Baldwin
    New Word Order (Video);Sandy Baldwin
    Word Museum;William Gillespie
    Interview with John Cayley; Sandy Rita Raley
    Torus (Video); John Cayley

-- TIR-W, Volume 8, no. 2, June/July 2006
    Editor's Introduction: Reconfiguring Place and Space in New Media Writing;     Scott Rettberg
    Workspace is Mediaspace is Cityscape: An Interview with Nick Montfort on Book and Volume; Jeremy Douglass
    Written on the Body: An Interview with Shelley Jackson; Scott Rettberg
    Behind Fa ade: An Interview with Andrew Stern and Michael Mateas; Brenda Bakker Harger
    Avant-Gaming: An Interview with Jane McGonigal; Scott Rettberg
    Book and Volume; Nick Montfort
    Fa ade; Michael Mateas and Andrew Stern

-- TIR-W, Volume 8, no. 1, February/March 2006
    Editor's Introduction; Ben Basan
    Sound Art, Art, Music; Douglas Kahn
    Speaking Volumes; Brandon Labelle
    Firebirds | Firebirds Berlin | Tongues of Fire; Paul DeMarinis
    A Brief Lecture on Author/ity; Alexis Bhagat
    Harvester; Ed Osborn
    Honi | Tacotsubo; ADACHI Tomomi

-- TIR-W, Volume 7, no. 2, November 2005
    10:01; Lance Olsen & Tim Guthrie
    Pieces of Herself; Juliet Davis
    The Bomar Gene; Jason Nelson
    News from Erewhon; Millie Niss & Martha Deed

-- TIR-W, Volume 7, no. 1, August 2005
    Ask me for the moon; John Zuern
    CONSCIOUSNESS, LITERATURE, AND SCIENCE FICTION; Kathleen Ann Goonan
    Buyways: Billboards, Automobiles, and the American Landscape; Mike Chasar
    An interview with Diana Slattery; Dene Grigar

-- TIR-W, Volume 6, 2004
    New Work; Niss, Deed & Daniels
    Two Reviews; Tevis Thompson and Mike Chasar
    Remembering Donald Justice; Steven Cramer
    An interview & new work; David Silver, Jay David Bolter and Diane Gromala
    An interview with Amy Sara Carroll; Heidi Bean

-- TIR-W, Volume 5, 2003
    Afterwards; Judy Malloy
    Digital Nature: the Case Collection version 2.0; Tal Halpern, Patrick F. Walter
    Hacktivism? I didn't know the term existed before I did it; An Interview with Brian Kim Stefans; Giselle Beiguelman
    Pax & An Interview; Stuart Moulthrop and Noah Wardrip-Fruin
    An Interview with Margaret Stratton; Leslie Roberts
    New Work & Reviews; Heidi Bean, Seth Thompson, Deena Larsen, geniwate, Pamela Gay
    An Interview with John Cayley; Brian Kim Stefans
    3 Proposals for Bottle Imps; William Poundstone
    Self Portrait(s) [as Other(s)] & an Interview; Talan Memmott and M.D. Coverley
    New work and an interview; Joseph Tabbi and Anthony Enns
    Judd Morrissey & Lori Talley: An Interview & Essay; Jessica Pressman

-- TIR-W, Volume 4, 2002
    Selected new poems; Ana Marie Uribe
    ORIENT; YOUNG HAE CHANG HEAVY INDUSTRIES
    Dervish Flowers; Nicolas Clausse and Brian Kim Stefans
    New Digital Emblems; William Poundstone and Brian Kim Stefans
    "Of Dolls and Monsters" An interview with Shelley Jackson; Rita Raley
    Electronic Literature; Ravi Shankar, N. Kathrine Hayles, and Lisa Gitelman
    Excerps from Mark Amerika's Oz Blog; Mark Amerika
    Inflat-o-space; Jessica Irish
    New Media Writing; Marc C. Marino, William Gillespie, and Dirk Stratton
    Remembering My Life In/Of Words; Richard Kostelanetz
    An Interview, an Essay, a New Media Project; Stephanie Strickland and Jaishree Odin
    Our day with Jerry Springer; David Schneidermann
    A loss is less and death is not so easy
    Experiemental Literature was really the first kick: An interview with Scanner; Rebekah Farrugia
    Crowds and Power; Jody Zellen and Thom Swiss
    "Red, Black, White and Gray:" An Interview with Motomichi Nakamura;
      YOUNG HAE CHANG HEaVY INDUSTRIES Bcc, Motomichi Makamura

-- TIR-W, Volume 3, 2001
    Reach; Michael Joyce
    Training Missions; Joe Amato
    Everything after That; Martha Conway
    Winter Break; Adrienne Eisen
    -][select][test: co][deP][1][oetry]_; mez
    The Impermanence Agent; Noah Wardrip-Fruin, a.c.chapman, Brion Moss, Duane Whitehurst
    A Long Wild Smile; Jeff Parker

-- TIR-W, Volume 1, 1999 & Volume 2, 2000
    Book of Job; Ted Warnell
    The Universal Resource Locator; M.D. Coverly
    Lexia to Perplexia; Talan Memmott
    The Birth of Detachment; Jennifer Ley
    The 12hr-ISBN-JPEG Project; Brad Brace
    City of Bits; Thomas Swiss
    Divine Mind Fragment Theater; Jim Andrews
    Pronunciation: 'fut, or: A Tool and it's Means; c. allan dinsmore
    Simple Harmonic Motion Or, Josephine Baker in the Time Capsule; Diane Greco
    Reality Dreams, Scroll One; Joel Weishaus
    Broken; Alan Sondheim and Barry Smylie
    Mitosis; Kevin Fanning
    The dear mr thomas letters; Kevin Fanning
    A Fable of Words; Jeffery M. Bochman

Donna Leishman

  

Jason Nelson

What kind of reception/recipient do your e-texts need? Do you have a sense of "making room for someone else," or do you rather aim to "compel an encounter"? How much does the reader/user need to know, about you, about digital lit, about your themes?

My work needs someone who likes to reflect and who has an enquiring mind. The work quickly presents itself as something "other" than the quick fire or instant gratification of many modern-day visual communications. Instead, I hope it is simultaneously visually alluring and difficult in terms of reaching clear understandings of the narrative. I have both a sense of making for someone else (a notional female) and needing to compel an encounter that is emotional. The user doesn't need to know about me or digital literature per se; in fact, knowing less about the latter may help their immersion, in that their experience would have immediacy, rather than anticipating how post-structuralism or reader-response theories fit my work. I hope the unraveling themes I use are suitably rich for the user to absorb, even if the projects are only partly explored.

Interview Questions

Biographical Background

Reception | Role of the Reader

Interface

Work Process

Electronic Literature Community

Future Work

Secrets

Space | State

Connect Digital | Material

Games

Potentials of the Field


Essays

The Artists on Each Other's Work

Talan Memmott's Commentary on Each Artist


Launch the Artworks

Deviant

Leishman Site

Pandemic Rooms

Nelson Index


Biographical Information

Stephanie Strickland

Majorie Coverley Luesebrink

Donna Leishman

Jason Nelson

Talan Memmott

What kind of reception/recipient do your e-texts need? Do you have a sense of "making room for someone else," or do you rather aim to "compel an encounter"? How much does the reader/user need to know, about you, about digital lit, about your themes?

Unfortunately, I've been experimenting with creating title html pages for my work, explanatory bits to help the user into the experience. I say unfortunately, because I usually loathe prefacing my work, forecasting the user experience. Much like not watching the previews before you see a movie. I enjoy the unexpected, that sense of the dark, dark, the hidden light switch that opens the bookcase to a circling descent, instead of the expected illuminating. But enough confused readers have missed even entering the work properly, or been diverted by perceived tech troubles, to convince me to offer more direction, to hold their hand a bit while they explore for the first time.

Perhaps one of the strongest draws many find for e-lit is its relative lack of rules, existing forms, or established meanings and methods. It is quite freeing as an artist to simply explore one's imagination and texts with only technical constraints limiting the possible creatures birthed.

However, once the critter is forced to breathe, would there be some puppy cuteness attached to its face to make people love it? I suppose the relative newness (20,000 [years] for poetry, around 50 more or less for electronic bits) of the form requires some teaching of the user/reader. But some of the awe, and user ownership, created by raw exploration is lost with directions, or even titles. For example the title, This Is How You Will Die, clearly directs the reader to a rather foreboding and slightly creepy conclusion. So I struggle with this notion of titles. Some are obvious: Nine Attempts To Clone A Poem; some are place or person oriented: Panhandle or The Bomar Gene; and others are more theory/architecture driven like Uncontrollable Semantics or Promiscuous Design.

From Hermeticon

Another loss generated by descriptions and directions is the loss of sloppiness. We are all sloppy, messy animals. Our worlds have frayed skins. Tech work can tend to appear polished, and academically driven descriptions constrain the work to certain intentions and goals. But perhaps what we need more of, in digital lit, is sloppiness and a sense of disorganization, of the way our worlds really function. My work Promiscuous Design is really a commentary on exactly this idea. I created a work to be a confusing and sloppy mess, to have that mess layered and buildable. There are even directions there, which are confusing as well.