Electronic Literature as an Information System Essay Example

it an active participant in the literary exchange.

The complexity of these systems has led to a focus on the newness of the processes that create the texts. However, there is a lack of shared terminology in the field, which results in critics using new terms instead of utilizing the established language of computer science and information systems. The system consisting of the Reader, Computer, and Author involves the flow and manipulation of information, making it an information system.

The text discusses the isolation of the interaction between elements in an information system into functional tiers, such as data tiers, processing tiers, and presentation tiers. It mentions that this type of system is referred to as an n-tier information system. The text also notes that in this system, there is a feedback loop where a portion of the output becomes input, making it a cybernetic process.

Aspen Reassert (1997) popularized the term "cybernetic" in literature, highlighting its significance in analyzing the impact of media on literary dynamics. Reassert emphasizes that cybernetic is not a standalone genre but rather a means to evaluate texts at a granular level for classification, traditions, literary genres, and aesthetic value. By incorporating cybernetic concepts, literary studies can encompass phenomena that are often considered alien or peripheral in the present day.

Arrest (1997, p. 19) defines cybernetic as the collective assortment of text machines that, when operated by readers, generate various texts for reading. Refusing to limit this definition to terms like digital text or electronic literature, Arrest suggests a broader understanding of cybernetic. However, for the purpose of this paper, we will refer to these works as "electronic literature," as they

possess a distinct literary quality through evocative language and interactions with established literary works.

While the literature finds the concept of "cybernetic" useful, it suggests using widely-accepted terminology in the field of computer science instead of Arrest's neologisms such as Textron, scripting, and traversal functions. This is important because the concepts introduced by Reassert, which are relevant to the current discussion, align perfectly with concepts developed earlier in computer science. While Reassert's neologisms remain arcane, the terms used in computer science are widespread.

While the term "cybernetic" suggests a growing level of intricate interactivity, its focus is mainly on the interaction between a user and one specific art object. Yet, this approach falls short in adequately explaining how such an object is formed. In his treatise, Reassert feels driven to compile tables of characteristics and categorizations in order to chart and classify each of these objects. Hence, there is a need for a framework to discuss the functioning of these systems and how this functioning enhances the overall literary experience.

In order to differentiate between the concept of cybernetic as a reading process and a more detailed explanation of a work's infrastructure, we need to clarify that there are various ways in which a reader can interact with electronic literature. For example, electronic literature can be created using HTML or Flash, but it can still provide the same level of interaction with the reader. In this paper, we utilize the notion of n-tier information systems to establish a framework for reading and understanding electronic literature.

The dominant presence of cybernetic elements in the field of electronic literature necessitates computer processing. This processing has become a

defining feature of electronic literature. Both critics and the general public anticipate encountering creativity and innovation not only in the narrative aspect but also in the processing aspect of new electronic literature works. In many instances, the novelty of the processing element has overshadowed other aspects.

Until now, the electronic literature has been concentrated on innovating and constantly redesigning various elements such as the wheel, word, image, delivery system, and even the act of reading itself. However, this emphasis on novelty brings up certain inquiries. To what degree does the current definition and expectation of electronic literature downplay the significance of textual exploration of the (post)human condition, also known as "the literary"? How does this prioritization of newness limit the progress of New Media for both existing and aspiring authors?

Or how do elite authors engage in an artistic arms race against the military-industrial complex that creates their tools? Literary essays on electronic literature examine various software applications such as Flash movies, blobs, HTML pages, dynamically generated pages, conversation agents, computer games. In a recent edition of Leonardo Almanac (AAA. W. 2006), David Small discussed the text art experiments of Augurs Khakis (2003), Brian Kim Stefan's 11-minute Flash performance, and Philippe Boot's matrix poetry program.

Despite not all objects being new, what they have in common is the novelty of their surface, process, or text. Although these works differ greatly, which is a defining feature of electronic literature (dissimilarity), they are categorized together to showcase the field's obsession with the new. This addiction, mirroring that of the revered hard sciences, constantly seeks to replace old forms and systems with the latest one. Consequently, the interest

in any piece of electronic literature lies in its form or its innovative utilization of that form.

Moreover, this particular emphasis alters the critical focus from the content (referred to as data) to its presentation and processes. In her article titled "ditching-digital," Marie-Laure Ryan (2005) criticizes a specific style of new media known as net.art, which she considers an elite art form that adheres to WYSIWYG (What you see is NOT what you get). In this approach, the surface text is deemed interesting solely because of the intriguing process underlying it. According to Ryan, this aesthetic centers around the "meta-property of algorithmic operation," valuing the productive formula and sophisticated programming as art rather than the output itself. Consequently, literary or artistic value is not found in what is displayed on the screen but rather in the virtuoso programming underlying the text. While Ryan's critique may be extreme in disregarding experimentation, it is valid in electronic literary criticism. This criticism not only diminishes the significance of the textual aspect but also neglects one of its primary objectives: to develop new forms for other authors to explore and utilize.

The emphasis placed on new media scholarship has exposed a prevailing bias. This bias steers scholars away from literary platforms as venues for their discourse communities, and instead leads them towards sites like Booing Booing and Serigraph. These sites prioritize curiosity or commercial technological advancements in their discussions. Consequently, this bias contributes to the rapid obsolescence of many forms of outerwear. The new media artist is not someone who uses outerwear as intended, but rather someone who employs it in innovative ways or reconfigures software for unintended purposes.

The

constant drive for innovation in electronic literary art leads to a continuous trimming of previous works, separating them from the traditional literary realm. This logic is also evident in commercial software production, where new releases often revamp the interface and remove beloved functionalities. However, this focus on the new overlooks the significant growth potential in authorship on stable but rudimentary authoring systems.

The influx of innovative ideas comes from individuals who are writing in different author information formats, transitioning from traditional print to digital media. This transition is made possible through stable and reusable information systems, which attract a wider audience to both consume and create content. Blobbing serves as a prominent example of this practice. It is important to note that not all blobbing is regarded as literary, just as not all writing falls into this category. Nevertheless, blobbing has emerged as a social practice in which individuals engage in reading and writing within digital media, resulting in an increased frequency of literary pieces being shared through this platform.

This enhanced involvement within the community would have been unattainable if each flogger had to create their own authoring systems. To redistribute scholarly focus, we suggest reimagining electronic literature as an n-tier information system. The result will have two main effects: First, it will enable us to separate content and processing, thereby establishing a clear differentiation between works with literary value and those demonstrating technical skill.

Though the distinction mentioned earlier may be problematic, examining the information system as a whole can shift the analysis's focus away from giving excessive importance to processes. Additionally, we argue that this approach establishes a unified framework for studying

all forms of electronic literature. This paper is structured as follows: Section 1 (Introduction) outlines the problem we aim to investigate and the types of systems discussed in this paper. In Section 2 (Information Systems), we explore the constituents of an information system and evaluate various researchers' approaches in the field.

Section 3 (Examples) showcases the versatility of the n-tier information system approach in describing various forms of electronic literature. In Section 4 (Discussion), the study examines the conclusions drawn from this exploration and discusses potential future directions. The concept of an information system is crucial in understanding electronic literature, as it involves input, processing, and output through computer mediation. Therefore, electronic literature can be regarded as an information system with different interpretations of the term.

In mathematics, an "information system" is a matrix that represents basic knowledge. It consists of attributes (columns) and objects (rows). In sociology, "information systems" are systems that are influenced by both individual goals and technology. In our context, an "information system" refers to a group of people and machines organized to collect, store, transform, and present data. This definition aligns with the widely accepted definition in computer science. The specific aspect in our case is that the data includes literary information, but is not restricted to it.

Information systems are typically constructed in layers because of their complexity. In 1979, the Reengages introduced a pattern called Model-View-Controller (MFC) to separate the process layer from the presentation layer. This concept evolved over time, giving rise to multi-tier architectures where presentation, data, and processes were isolated. These architectures can have multiple tiers for data, processes, and presentation.

One of the most

prominent paradigms in the field of computer science, and the one considered more appropriate for electronic literature, is the 3-tier architecture (Checkers, 1995). This architecture suggests that processes of varying categories should be enclosed in three layers: 1. Presentation Layer, which deals with the physical rendering of the narrative piece such as sequence of physical pages or on-screen text presentation. 2. Process Layer, which contains the rules required to read a text.

In printed narrative, a reader of the Latin alphabet must read from left to right and top to bottom. They also need to turn the page after the last word of the last line. In digital narrative, this layer contains the rules programmed in a computer to create a text output. In the 3-tier model proposed, the data layer consists of the actual text itself, such as words, images, and videos, which form the narrative space. Feedback is not only possible but essential for literary exchange in this model. It follows Muscleman's mantra that "the media is the message."

In digital narrative, the media acts on the message. The cycle of feedback in digital narrative involves several steps. First, readers receive information and based on it, they interact with the system. Next, the computer takes the input and applies logic rules programmed by the author. The computer also retrieves content from the data layer and presents it to the reader in the presentation layer. This cycle of feedback is then repeated, resulting in a complete feedback cycle and the fulfillment of a cybernetic process.

N-tier information systems have had a relatively brief impact on electronic literature. According to Reassert (1997, p. 62),

he proposed a classification that aligns precisely with a 3-tier system: The presentation layer is represented by scripting ("strings as they appear to readers"), the data layer is represented by Textron ("strings as they exist in the text"), and the process layer is represented by the traversal function ("the mechanism by which scripting are revealed or generated from Textron and presented to the user").

While neologisms are necessary for the study of all forms of text, they are unnecessary when it comes to electronic literature. The methods developed in computer science are constantly and rapidly influencing electronic literature, particularly as artists create more complex works. Those involved in the field of electronic literature will benefit more from advances in information technology if they hinder knowledge acquisition through dialogue.

In an article by Guttering (2002), the first reference that used computer science terminology to discuss electronic literature, the concept of three layers (data, logic, and presentation) was introduced. These layers were proposed as a paradigm for electronic literature. Guttering (2004, 2006) further delved into the logic layer, presenting algorithms to manage the necessary processes for delivering literary content through electronic media. This proposal aligns with the paradigm put forth by Checkers (1995) and Jacobson et al. (1999), wherein the system is divided into stationary components (a), users (b), and transient components (processes) (c).

The system's processes are examined and illustrated using sequence diagrams to show how user actions lead to the movement and alteration of information across various components. Wayward-Fruit (2006) presents a different viewpoint, suggesting seven monuments instead of three: (I) author, (it) data, (iii) process, (iv) surface, (v) interaction, (v') outside processes, and (vii)

audiences. This perspective is the result of comprehensive research in multiple areas and is interpreted from a literary standpoint.

Despite not using established computer science terminology, Wayward-Fruit's proposal is essentially equivalent to Stricture's model. In Wayward-Bruin's model, the author -I- and audience -vii- are equivalent to actors in the Unified Process (UP). The process -iii- and interaction -v- correspond to the process layer in the 3-tier architecture, controlling how information is moved and modified between actors. The data -ii- directly maps to the data layer in the 3-tier model. Finally, the surface -iv- represents the presentation layer.

The rise of information systems approaches signifies the understanding that new literary forms are derived from software and can therefore be analyzed using traditional computer science methodologies. Level Invoice emphasized the need for this analysis in Software Studies within The Language of New Media. By applying computer science schematics to electronic literature, critics are able to examine the intricacies of such works without exclusively relying on literary theory, as cautioned by Aspen Reassert in Cybernetic.

Such a framework offers a language instead of forcing another classification system or set of metaphors that will always be partially effective and inadequate. It doesn't mean that n-tier approaches fit perfectly without any conflicts. Actually, some of the most insightful interpretations come from the parts that complicate the n-tier distinctions. EXAMPLES DREAMING 1 ; 2: REVISING OUR SYSTEMS model can reveal the intricacies and contradictions of electronic literature works.

Nelson is an expert in interface design. In the initial version of this article, he converts the flat screen into a navigable 3D space with multiple planes. The interaction takes place on these

planes, where texts and information about the disease can be found. It feels like we are exploring the story's underlying data structure, revealing the hidden information. However, technically speaking, the data has always been in its intended location.

Each plane is an object, generated in real-time using Flash through the analysis of the navigation input and the creation of vector graphics to occupy the screen. Nonetheless, Nelsons' artwork separates us, detaches us from the visual symbols that we have adopted as representations of the physical data structures within the computer. Operating system designers devote considerable effort to making our interaction with information feel familiar. The act of opening windows and organizing folders no longer serves as a visual display but rather allows us a transparent glimpse into the structures themselves.

Neal Stephenson has written convincingly about the impact of replacing the command line interface with these illusions. The piece revolves around a virus epidemic, which manifests as a recurring dream. Nelson describes the virus as having "drifting eyes." Ultimately, the disease is deadly, causing patients to become insane and then comatose. In this context, the piece brings to mind the repetitious nature of classical electronic literature, where information systems guide the reader to encounter the same texts as an integral part of progressing through the narrative.

The disease also refers to the planes that the user travels through, which are semi-transparent and appear like ramekin visions. Nelson published a second interface for Dreaming in 2004, noting that the first version had usability problems such as an unwieldy interface and difficulty in finding the books, along with occasional computer crashes. To address these issues, he designed

a more stable interface in two dimensions.

In a two-dimensional version, Nelson has made some adjustments to the medical reports and added extra elements. His modifications mainly affected the interface and data layers in terms of n-tier architecture. The interface artist now confronts the unsettling reappearance of their own artistic creation in a world where information systems are no longer bound in a stable book format, but exist in a constantly changing state dependent on the environments (operating systems) and frames (browser) in which they are displayed.

While the user seeks grounding amidst the spaces and moments lost to the disease, Nelson endeavors to create stability in a constantly shifting environment. However, due to a distinct variation in the way Firebox 2.0 processes Flash, users will find that the "opening" page of the second version is compressed into a small portion of the window instead of expanding to fill it entirely. The solution lies within the words and dreams contained in these books. But where does the pattern reside? The pattern reoccurs in recurring dreams.

"How long before I become another lost?" ("opening"). Comparing the two versions of the same information system, we observe the recurring dream. The first version lingers in the second, as we wonder when it will also be lost. Despite Nelson's constant search for innovative interfaces, his artistic practices align with the theme of this article. During speaking engagements, he routinely shares his interfaces (Flash source files) with attendees for them to freely utilize.

The author Nelson presents his information systems with the acknowledgement that the audience may discover even more powerful uses for these interfaces. In Emily Short's interactive fiction,

GALATEA: NOVELTY RETURNS, there is another work that, like in TTS namesake in the piece, invites discussion when approached thoughtfully. Galena's presentation layer seems to be typical interactive fiction content. The interaction involves a critic encountering Galatea, who initially appears to be a statue of a woman but soon starts to talk and move.

This interactive fiction novel takes a different approach to navigation and interaction. Instead of using traditional verbs like "go," "open," or "throw," the action is focused on a single room. The instructions encourage users to "talk" or "ask" about topics instead. This novel work by Short explores a navigational system in IF that resembles a conversation driven by keywords, similar to Joseph Whizz-bang's ELISE. Rather than exploring a cave, the user engages in an array of conversational replies.

Galatea exhibits variability in her responses, indicating a range of emotions in your interaction with her. The underlying logic involved in her operation is more intricate than the limited verbs suggest. The objective is to determine the precise combination that yields additional information. Galatea employs an innovative method that immerses the user in the role of a safe cracker, attempting to access the treasure trove of answers. Note the significance of novelty as a prominent characteristic in this context. Is it possible for there to be a second incarnation of Galatea? Can someone create another narrative utilizing Galena's methodologies?

Technically, the work cannot be classified as a derivative since it was released under a No-Derives Creative Commons license. However, Galatea can be seen as a successor in the experimental wave of artistic revisions of interactive fiction that emerged after the decline of commercially

produced text adventures like Inform. Galatea is written in Z-Machine format and functions as an information system. It represents a new era in Infusion's interactive fiction system. Short's work possesses unique processes and is characterized by its rich literary allusions, contributing to its literary value.

Short has expanded her efforts to assist others in creating their own Galatea through her work on the Inform 7 natural language IF authoring system and her authored conversation libraries. This has led her to collaborate with other developers of authoring systems, including the creators of catboat systems like Richard S. Wallace's popular A. I. M. L.. Boot. Wallace's work exemplifies the potential of creating and sharing outerwear, even within the confines of the novel's tyranny. A. L. I. C. E. serves as the foundational conversational system that can be downloaded and customized.

By downloading the basic, functioning A.L.I.C.E. catboat as a foundation, users can focus on editing recognizable inputs and systematic responses. Instead of worrying about the system's response to input, authors or poetasters can concentrate on creating what the system will say. To gain respect as a poetaster/author, modifying an out-of-the-box ALICE is not enough. Users should further customize or build from scratch using MAIL, the artificial intelligence markup language specifically designed for Wallach's system.

The system must be changed because the focus on catboats in terms of critical attention is more aligned with scientific innovation than literary depth. Despite this emphasis, according to Wallace, ALICE has attracted thousands of users who have created catboats using the system (Be Your Own Poetaster). The case of MAIL is significant because users have access to some aspects of the system

but their involvement in discussions about scientific innovation catboats is limited since they are not altering the core elements.

In spite of our emphasis on creating outerwear and comprehending information systems in our n-tier model, the development of electronic literature still relies on novelty. However, when encountering an MAIL Boot or interactive fiction on a familiar platform, interaction can still utilize their existing literacy skills.