What's up my peepz all across the web, itz ur fabulous fav, the baddie of all time, or at least the 2000s, DORFic2KPrincess ཐི⋆♱⋆ཋྀ

And today, I'll be ur bae guiding you through what exactly the heck they mean, the history of some of the most amazeee e-lit interfaces, and giving u the 4-1-1 on what aesthetics of this reading and the overall vibez of speculative interfaces <3…

This excerpt from the reading explains it in the most straight-up way. “Speculative interfaces indicate the experimentation with form genre and interface, an openness and exploration of interfaces that are not yet standard… or mimicking of something that does not yet and may never exist.”

This week, I had the absolute and completely joyous pleasure of reading “Speculative Interfaces: How Electronic Literature Uses the Interface to Make Us Think about Technology” by Jill Walker Rettberg, and boy, was this one was a doozy. This paper spoke about the history of speculative interfaces, specifically looking at it through electronic literature (e-lit) and argues that speculative interfaces are a key attribute of not only e-lit but the digital humanities as a whole. The paper argued its case through three examples across time: M.U.C. Love Letter Generator by Christopher Strachey (1952), Afternoon: A Story by Michael Joyce (1987), and Breathe by Kate Pullinger (2018), all of which created new speculative interfaces to enhance the experience for the individual. M.U.C’s love letter generator was revolutionary when it first emerged as it is the first piece of e-lit in history. The love letter generator was not a writing piece that Shakespeare would applaud, but that was not the purpose. Rather, the program was able to generate these love letters, and for Strachey, it was far more interesting how a computer can give the illusion that it is thinking up the response in the form of a love letter. While the technological marvels are nothing compared to today, it’s important to acknowledge that M.U.C. was the beginning of the speculative exploration of text generation. By creating M.U.C., Strachey explores the relationship between conventional romantic partners and, on a broader scale, between humans and machines.

The next speculative work mentioned by Rettberg is Michael Joyce’s Afternoon: A Story (1987), which marks the beginning of hypertext fiction. The story was first introduced at the first hypertext conference, which brought together computer scientists, poets, and humanities scholars to talk about the technical details of hypertext systems. The spirit of exploration was intrinsic to these early hypertext conferences, specifically the exploration of technology and aesthetic practices. The speculative interface in relation to Afternoon is not simply the hypertext interface, but rather the intertwining of it with a story that tells a narrative that is the speculative interface.

The last example mentioned is Kate Pullinger’s Breathe (2018), which is a short story meant to be experienced on a mobile phone. The story follows a young woman named Flo who communicates to the reader through one to two-sentence slides, totalling 105 when the story is complete. Throughout the story, we follow her, but are also interrupted by “the ghost,” who possesses our screen and halts the story while taking advantage of permissions allowed by the reader at the beginning of the story. When first opening the story, they ask for permission to access your device’s camera and location, both of which are used against you throughout the course of the story. The speculative interface in Breathe is the interface between humans and technologies; perhaps the ghost isn’t a ghost at all, but rather the tech itself, speaking directly to us, drawing us into itself.

Thinking about aesthetics when talking about this reading was difficult because there was so much information to take in that assigning an aesthetic or ‘core’ felt difficult because there was nothing else to latch onto. That being said, I do think this reading captures the intersection of multiple aesthetics. Firstly, as I was reading, it felt like I was walking through an abandoned building, but that has more to do with the respective interface of ‘electronic book review,’ not necessarily the reading. The reading reminded me of themes of futurism, avant-garde and surrealism. Futurism was a movement crafted in response to the quickness and speed, the power of the machine, and the vitality of the 20th  century. Avant-garde is obviously intertwined with speculative interfaces, as all speculative interfaces work in areas to make something new and different, often unusual or different in form factor, allowing the interfaces to keep pushing further into the speculative. Surrealism is also something that comes to mind when speaking about speculative interfaces because both work to try and revolutionize the human experience. Surrealism is about the juxtaposition of the normal and the oddities of dreamlike imagery, while not all speculative interfaces mentioned above use surrealism, they all function to introduce ‘dreamlike’ interfaces. They are all working to create new experiences or to enhance the already mundane experiences we encounter every day.

Urz 4everrrr,

Aestheticaste