Five Fingers

November 20, 2003

IF – Languages

Filed under: Interactive Fiction, New Media — john @ 11:22 am

I’ve just begun reading Nick Montfort’s “Twisty Little Passages – An Approach to Interactive Fiction“. It’s too early to present a critique or present any cogent overview of what’s contained but I can say that I have been impressed so far.

The publication of such a precedent-setting and potentially seminal work comes at an opportune time (I do not personally believe in coincidence – but that’s another topic). I’ve been working towards completion of a proposal for a new interdisciplinary course in IF (with Steve’s able assistance) that will, hopefully, be offered spring semester 2005 (seems so far away, doesn’t it?). The initial audience for such a course is the programming student and the writing/literature student who are respectively interested in new and different challenges. The course itself will easily fall into the larger New Media program as it brings together traditionally disparate groups: the concrete, linear language of programming with the abstract, creative language of writing.

Steve has recently begun integrating “non-traditional” forms as literature into his classes. This is to be commended for several reasons beyond just a “mind-expanding” objective. The question that is inevitably asked is “how can I try to create such a thing?” In any tradtional creative medium such as writing, one can just pick up a pen or pencil and begin writing onto sheets of paper (or type on a word-processor). In a “new media world”, this is not so simple.

Discussions that I’ve personally had with students, as well as the feedback I’ve received, only tells me that there is plenty of interest in exploring new venues. Over the next year (based on personal observations) this audience and interested can only grow. So, knowing this, Steve and I have been entering into a dialogue on how this can be successfully accomplished. These approaches make strange bedfellows: the linear personality with the non-linear one or, as one of my colleagues once remarked, “a combination of people who sit at the desk and those who sit on the desk.”

Perhaps the scariest piece of this is for the more free-form creative person: the fear of the unknown world of computer programming. This concern has been a key component in what language we will use in the class. I won’t go into detail here but I will say that it is friendly and easy enough to learn that anyone should be able to create some simple IF with guidance. But isn’t that the reason someone takes any class: to learn? If everyone knew how to do this, there would be no need.

Anyway, we’re very excited about this and look forward to being able to bring students into a growing worldwide community of IF authors and readers.

Stay tuned….

November 15, 2003

Starting Hypertext

Filed under: Hypertext, New Media — john @ 4:34 pm

A favorite recommended starting place, for those brand-new to reading a work of hypertext, is Rick Pyrll’s “Lies” produced in 1994. Comprised of short modules of text, the reader, in order to continue, has two options: to choose “Truth” or to choose “Lies”. It’s apparent simplicity belies its complex narrative structure especially upon repeated readings and making different/new choices. It should be part of the new media “canon”. Check it out.

Lies

Analysis of Lies

My Experience with Hypertext

November 4, 2003

Diversity of Content

Filed under: Education — john @ 9:23 am

Recently, in one of my classes, a student (female) made an idle comment that that the ratio of males to females in that particular class was extremely high (75% male to 25% female). My reply was simply that it was “the luck of the draw” during the registration process. This, of course, was really not her point as, is typical of the communication process, we often precede our “true” intended meanings with less concrete statements. She then commented further that the “content” of the course was heavily biased towards males adding that, since the instructor was male, this should be expected. Some of the other students commented that they didn’t necessarily agree but, as I was, they were mildly taken aback. I countered with the fact that the content was also all predominately white (as is the class), and subjects (those that included romance) were all heterosexually-oriented. She started to reply but stopped. My fear was that her potential reply was going to be inappropriate but hoped that she had stopped to consider my point: that one could argue such things in innumerable ways.

This raises an important issue: that of diversity of content within a class. In introductory courses that deal with an understanding of the forms, language, structure, and syntax of creative media (such as art, design, film, literature, poetry, or photography), should the instructor, working within the parameters of a 15-week semester, make the attempt to provide as many points-of-view as possible? Anyone, who teaches such courses, understands that content is inextricably linked with its form. It is difficult (if not impossible) to discuss form without acknowledging content and vice-versa. I am reminded of the story of the art history professor (male) expounding on the craft and beauty of Rubens’ brushstrokes in the painting “The Rape of the Sabine Women.” Women in the class were astounded, incredulous, and outraged at the instructor’s indifference to the painting’s violent content and its affront to them as women.

This then brings up the idea of the viewers/readers point-of-view: the concept that criticism/analysis can also be just as diverse be it aesthetic, political, feminist, social, etc. This is an idea that warrants (for me) further consideration in the future implementations of my creative media courses. Additionally, as a last thought, can all of this be fairly articulated within a 45 hour class?

While, in this particular instance, I am comfortable with my choice of content, I am keenly sensitive to this issue and such comments always force me to take a few steps back and re-evaluate things.

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