The ‘digital turn’ brings opportunities and challenges for creative writers. One of the few things we can be sure of is ongoing change. This article is about how to navigate that change. New technologies and corresponding new genres emerge apace, social media platforms and conventions morph and mutate. We can get caught out. We can’t… Read more »
Online viewing of Australian-made comedy content has emerged as a strong rival for Australian-made television. Screen Australia, the federal screen agency, has ploughed millions of dollars into the development of online content, mainly comedy, and this has been mirrored by state, and territory, based screen agencies and national broadcasters. Hit shows such as Superwog (2017-2018),… Read more »
Welcome to the fourth article in this series where we’re dissecting the multifarious entity of Digital Humanities (DH). To understand the context and scope of this series, and to consider the research questions upon which the investigation is based, please view the previous articles here, here and here. We’ll also be referring to my online survey Hands Up for… Read more »
Multiple recent digital narrative works utilise recombinant poetics. Yet such an approach to fiction is not dependent on code. Multiple examples predate the computer. In Electronic Literature (2019), Scott Rettberg argues that the study of digital literature ‘not only takes us forward to explore new horizons but also on a retrospective journey that can lead… Read more »
This is an abridged version of a keynote speech delivered at the MIX Conference 2019 With the increasing convergence between creative industries and artificial intelligence, there is an emerging misunderstanding of how the tech world sees creativity, and this is important for publishers, authors and the broader creative industries. To frame this, it is important… Read more »
Excited by the possible storytelling functions and forms that digital technology enables, I set out to foster meaningful encounters between author and audience in a digital narrative project titled We See Each Other. I had never considered the possibility of an invisible third party shaping these encounters, but they were there, ever-present and impossible to… Read more »
It was early in 2013 and really I’d had enough. A novel of mine had come out in 2011, and another in 2012, and now I was supposed to sit down and start another? I bridled. The solitude of novel writing, the grating solipsism of the form – strapping yourself alone to the industrial word… Read more »
As a researcher, my focus is on critically examining digital literature—texts and writing practices where digital media is rendered integral to the experience of literary or poetic forms. In recent years, I have been working so that my research manifests not just at the level of written critique, but also through creative practice, placing my… Read more »
The following is an excerpt from Amaranth Borsuk’s The Book, part of the ‘Essential Knowledge’ Series from MIT Press. This chapter explores the various ways writers and artists for more than a hundred years have approached the book as an object and a structure that can be cut up and rearranged as early examples of ‘digital’… Read more »
Way back in the wilds of the year 2008, artist-extraordinaire James Morgan and I engaged in an animated discussion about Augmented and Virtual Reality. At that time James and I were collaborators-in-crime in the Third Faction Collective, a group of digital artists intent on constructing game interventions in Massively Multiplayer Online Spaces. During this discussion,… Read more »