Journal articles on the topic 'Glitching'

AbstractResults of timing observations of the glitching pulsar B1822–09 made practically simultaneously at widely separated frequencies of 0.1 and 1.6/2.3 GHz during seven years since 1991 to 1998 are discussed.

The increasing number of clock domain crossings in modern systems-on-chip makes the careful consideration of metastability paramount. However, the manifestation of metastability at a flip-flop output is often unduly reduced to late transitions only, while glitches are hardly ever accounted for. In this paper we study the occurrence of glitches resulting from metastability in detail. To this end we propose a measurement circuit whose principle substantially differs from the conventional approach, and by that allows to reliably detect glitches. By means of experimental measurements on an FPGA target we can clearly identify late transitions, single glitches and double glitches as possible manifestations of metastability. Some of these behaviors are unexpected as they do not follow from the traditional modeling theory. We also study the dependence of metastable behavior on supply voltage. Beyond confirming that, as reported in previous literature, the metastable decay constant [Formula: see text] is voltage-dependent, we also produce strong evidence that the relative occurrence of glitches is not voltage-dependent.

This article considers different experiences available to the reader of Vladimir Nabokov’s Pale Fire by exploring the novel through concepts familiar from videogaming, such as the warp, the glitch, and the Let’s Play, developing particular parallels with the Nintendo game Super Mario Bros. All of these potential modes of experience are comprised in the playerly text, which serves as a conduit linking together a work’s past, present, and future readers.

AbstractParkes timing observations of 31 mostly young pulsars over nearly nine years are described. A total of 29 glitches were detected, of which 19 are previously unreported. Twelve glitches were seen in PSR J1341–6220, making this the most frequently glitching pulsar known, and the largest known glitch was detected in PSR J1614–5047. Distributions of glitch parameters were investigated.

The Spring sunshine makes the blind a perfect glowing square, clearly much later than the twenty-three minute duration of the live recording I set in motion, as I lay on my friend's bed alone, drunk on vodka and tonic and giddy with big city kicks after the very . . . Manhattan evening I was taken on. It was dark, I was too full of it to take the subway back to Brooklyn, I remember the cab ride over the bridge, no dog to greet me as I unlocked the heavy steel door. I was laughing at Alan Vega complaining about not being allowed to smoke, there was booing . . . ‘Frankie Teardrop’ had been glitching over Brussels for hours.

ABSTRACT Among the five pulsars with the most recorded rotational glitches, only PSR J0534+2200 is found to have an autocorrelation between consecutive glitch sizes that differs significantly from zero (Spearman correlation coefficient ρ = −0.46, p-value = 0.046). No statistically compelling autocorrelations between consecutive waiting times are found. The autocorrelation observations are interpreted within the framework of a predictive meta-model describing stress release in terms of a state-dependent Poisson process. Specific combinations of size and waiting time autocorrelations are identified, alongside combinations of cross-correlations and size and waiting time distributions, that are allowed or excluded within the meta-model. For example, future observations of any ‘quasi-periodic’ glitching pulsar, such as PSR J0537–6910, should not reveal a positive waiting time autocorrelation. The implications for microphysical models of the stress-release process driving pulsar glitches are discussed briefly.

Pulsars are known for their superb timing precision, although glitches can interrupt the regular timing behavior when the stars are young. These glitches are thought to be caused by interactions between normal and superfluid matter in the crust of the star. However, glitching pulsars such as Vela have been shown to require a superfluid reservoir that greatly exceeds that available in the crust. We examine a model in which glitches tap the superfluid in the core. We test a variety of theoretical superfluid models against the most recent glitch data and find that only one model can successfully explain up to 45 years of observational data. We develop a new technique for combining radio and x-ray data to measure pulsar masses, thereby demonstrating how current and future telescopes can probe fundamental physics such as superfluidity near nuclear saturation.

From the initial release of the CD in 1982, artists have tampered with the system to test it, compose with it and sample from it. The author examines the use of the cracked and manipulated CD in the work of Yasunao Tone, Nicolas Collins and Oval in relation to their differing approaches and the role of the CD in sound expansion. Tone and Collins are interested in indeterminacy and the benevolent catastrophe in composition, while Oval's process has more in common with pop production and studio practices.

AbstractSince the launch of the Fermi Gamma-ray Space Telescope in 2008, the onboard Large Area Telescope (LAT) has detected gamma-ray pulsations from more than 200 pulsars. A large fraction of these remain undetected in radio observations, and could only be found by directly searching the LAT data for pulsations. However, the sensitivity of such “blind” searches is limited by the sparse photon data and vast computational requirements. In this contribution we present the latest large-scale blind-search survey for gamma-ray pulsars, which ran on the distributed volunteer computing system, Einstein@Home, and discovered 19 new gamma-ray pulsars. We explain how recent improvements to search techniques and LAT data reconstruction have boosted the sensitivity of blind searches, and present highlights from the survey’s discoveries. These include: two glitching pulsars; the youngest known radio-quiet gamma-ray pulsar; and two isolated millisecond pulsars (MSPs), one of which is the only known radio-quiet rotationally powered MSP.

ABSTRACT We present updated measurements of the Crab pulsar glitch of 2019 July 23 using a data set of pulse arrival times spanning ∼5 months. On MJD 58687, the pulsar underwent its seventh largest glitch observed to date, characterized by an instantaneous spin-up of ∼1 μHz. Following the glitch, the pulsar’s rotation frequency relaxed exponentially towards pre-glitch values over a time-scale of approximately 1 week, resulting in a permanent frequency increment of ∼0.5 μHz. Due to our semicontinuous monitoring of the Crab pulsar, we were able to partially resolve a fraction of the total spin-up. This delayed spin-up occurred exponentially over a time-scale of ∼18 h. This is the sixth Crab pulsar glitch for which part of the initial rise was resolved in time and this phenomenon has not been observed in any other glitching pulsars, offering a unique opportunity to study the microphysical processes governing interactions between the neutron star interior and the crust.

Context. Glitches are sudden increases in the rotation rate ν of neutron stars, which are thought to be driven by the neutron superfluid inside the star. The Vela pulsar presents a comparatively high rate of glitches, with 21 events reported since observations began in 1968. These are amongst the largest known glitches (17 of them have sizes Δν/ν ≥ 10−6) and exhibit very similar characteristics. This similarity, combined with the regularity with which large glitches occur, has turned Vela into an archetype of this type of glitching behaviour. The properties of its smallest glitches, on the other hand, are not clearly established. Aims. We explore the population of small-amplitude, rapid rotational changes in the Vela pulsar and determine the rate of occurrence and sizes of its smallest glitches. This will help advance our understanding of the actual distribution of glitch sizes and inter-glitch waiting times in this pulsar, which has implications for theoretical models of the glitch mechanism. Methods. High-cadence observations of the Vela pulsar were taken between 1981 and 2005 at the Mount Pleasant Radio Observatory. An automated systematic search was carried out that investigated whether a significant change of spin frequency ν and/or the spin-down rate ν̇ takes place at any given time. Results. We find two glitches that have not been reported before, with respective sizes Δν/ν of (5.55 ± 0.03) × 10−9 and (38 ± 4) × 10−9. The latter is followed by an exponential-like recovery with a characteristic timescale of 31 d. In addition to these two glitch events, our study reveals numerous events of all possible signatures (i.e. combinations of Δν and Δν̇ signs), all of them small with |Δν|/ν < 10−9, which contribute to the Vela timing noise. Conclusions. The Vela pulsar presents an under-abundance of small glitches compared to many other glitching pulsars, which appears genuine and not a result of observational biases. In addition to typical glitches, the smooth spin-down of the pulsar is also affected by an almost continuous activity that can be partially characterised by small step-like changes in ν, ν̇ or both. Simulations indicate that a continuous wandering of the rotational phase, following a red spectrum, could mimic such step-like changes in the timing residuals.

ABSTRACT Glitches are the observational manifestations of superfluidity inside neutron stars. The aim of this paper is to describe an automated glitch detection pipeline, which can alert the observers on possible real-time detection of rotational glitches in pulsars. Post alert, the pulsars can be monitored at a higher cadence to measure the post-glitch recovery phase. Two algorithms, namely median absolute deviation and polynomial regression, have been explored to detect glitches in real time. The pipeline has been optimized with the help of simulated timing residuals for both the algorithms. Based on the simulations, we conclude that the polynomial regression algorithm is significantly more effective for real time glitch detection. The pipeline has been tested on a few published glitches. This pipeline is presently implemented at the Ooty Radio Telescope. In the era of upcoming large telescopes like SKA, several hundreds of pulsars will be observed regularly and such a tool will be useful for both real-time detection as well as optimal utilization of observation time for such glitching pulsars.

AbstractAs the quantity and quality of timing data improves, we have reached the point at which the difference between timing noise and small glitches is unclear. As a consequence, the number of events reported as glitches which show unusual properties, quite different to those of giant glitches, has increased. For example, there is now a substantial population of glitches that apparently involve a decrease in spin-down rate rather than an increase. Motivated by the theoretical implications of such a result, we are conducting a detailed review of how glitches are detected and characterised. We have focused on three main questions: the observational biases affecting glitch detection; the methods used to characterise error bars on changes in spin and spin derivatives; and the physical mechanisms that could potentially explain the different populations of timing irregularities, in the light of improved characterisation. While glitches are thought to be a consequence of the internal dynamics of the star, magnetospheric processes may be responsible for other irregularities, as timing noise and peculiar glitch recoveries. We report the first results from this study, using a small sample of radio pulsars that exhibit a wide variety of glitching behaviour.

Architectural designs are visualised on computer screens through arrays of pixels and vectors. These representations differ from the reality of buildings, which over time will unavoidably age and decay. How, then, do digital designs age over time? Do we interpret glitching as a sudden malfunction or fault in the computation of the design’s underlying data, or as digital decay resulting not from the wear and tear of tangible materials but from the decomposition of the binary code, or from system changes that cannot appropriately interpret the data? By exploring a series of experimental design practices for deployments and understandings that are the consequence of malfunctions during computational processing, glitches are reinterpreted. Advancing from two-dimensional glitch art techniques into three-dimensional interpretations, the research employs a methodology of systematic iterative processes to explore design emergence based on glitches. The study presents digital architectural form existing solely in the digital realm, as an architectural interpretation of computational glitches through both its design process and aesthetic outcome. Thus, this research intends to bring a level of authenticity to the field through three-dimensional interpretations of glitch in an architectural form.

ABSTRACT PSR J0537−6910, also known as the Big Glitcher, is the most prolific glitching pulsar known, and its spin-induced pulsations are only detectable in X-ray. We present results from analysis of 2.7 yr of NICER timing observations, from 2017 August to 2020 April. We obtain a rotation phase-connected timing model for the entire time span, which overlaps with the third observing run of LIGO/Virgo, thus enabling the most sensitive gravitational wave searches of this potentially strong gravitational wave-emitting pulsar. We find that the short-term braking index between glitches decreases towards a value of 7 or lower at longer times since the preceding glitch. By combining NICER and RXTE data, we measure a long-term braking index n = −1.25 ± 0.01. Our analysis reveals eight new glitches, the first detected since 2011, near the end of RXTE, with a total NICER and RXTE glitch activity of $8.88\times 10^{-7}\, \mathrm{yr^{-1}}$. The new glitches follow the seemingly unique time-to-next-glitch–glitch-size correlation established previously using RXTE data, with a slope of $5\, \rm {d} \, \mu \mathrm{Hz}^{-1}$. For one glitch around which NICER observes 2 d on either side, we search for but do not see clear evidence of spectral nor pulse profile changes that may be associated with the glitch.

ABSTRACT We present the results of processing an additional 44 per cent of the High Time Resolution Universe South Low Latitude (HTRU-S LowLat) pulsar survey, the most sensitive blind pulsar survey of the southern Galactic plane to date. Our partially coherent segmented acceleration search pipeline is designed to enable the discovery of pulsars in short, highly accelerated orbits, while our 72-min integration lengths will allow us to discover pulsars at the lower end of the pulsar luminosity distribution. We report the discovery of 40 pulsars, including three millisecond pulsar-white dwarf binary systems (PSRs J1537−5312, J1547−5709, and J1618−4624), a black-widow binary system (PSR J1745−23) and a candidate black-widow binary system (PSR J1727−2951), a glitching pulsar (PSR J1706−4434), an eclipsing binary pulsar with a 1.5-yr orbital period (PSR J1653−45), and a pair of long spin-period binary pulsars which display either nulling or intermittent behaviour (PSRs J1812−15 and J1831−04). We show that the total population of 100 pulsars discovered in the HTRU-S LowLat survey to date represents both an older and lower luminosity population, and indicates that we have yet to reach the bottom of the luminosity distribution function. We present evaluations of the performance of our search technique and of the overall yield of the survey, considering the 94 per cent of the survey which we have processed to date. We show that our pulsar yield falls below earlier predictions by approximately 25 per cent (especially in the case of millisecond pulsars), and discuss explanations for this discrepancy as well as future adaptations in RFI mitigation and searching techniques which may address these shortfalls.

Context. The Argentine Institute of Radio astronomy (IAR) is equipped with two single-dish 30 m radio antennas capable of performing daily observations of pulsars and radio transients in the southern hemisphere at 1.4 GHz. Aims. We aim to introduce to the international community the upgrades performed and to show that the IAR observatory has become suitable for investigations in numerous areas of pulsar radio astronomy, such as pulsar timing arrays, targeted searches of continuous gravitational waves sources, monitoring of magnetars and glitching pulsars, and studies of a short time scale interstellar scintillation. Methods. We refurbished the two antennas at IAR to achieve high-quality timing observations. We gathered more than 1000 h of observations with both antennas in order to study the timing precision and sensitivity they can achieve. Results. We introduce the new developments for both radio telescopes at IAR. We present daily observations of the millisecond pulsar J0437−4715 with timing precision better than 1 μs. We also present a follow-up of the reactivation of the magnetar XTE J1810–197 and the measurement and monitoring of the latest (Feb. 1, 2019) glitch of the Vela pulsar (J0835–4510). Conclusions. We show that IAR is capable of performing pulsar monitoring in the 1.4 GHz radio band for long periods of time with a daily cadence. This opens up the possibility of pursuing several goals in pulsar science, including coordinated multi-wavelength observations with other observatories. In particular, daily observations of the millisecond pulsar J0437−4715 would increase the sensitivity of pulsar timing arrays. We also show IAR’s great potential for studying targets of opportunity and transient phenomena, such as magnetars, glitches, and fast-radio-burst sources.

In the contemporary ‘envisioned’ environment, Internet webcams, low- and high-altitude unmanned aerial vehicles and satellites are the new vantage points from which to construct the image of the city. Armed with hi-resolution digital optical technologies, these vantage points effectively constitute a ubiquitous visioning apparatus serving either the politics of promotion or surveillance. Given the political dimensions of this apparatus, it is important to note that this digital imaging of public urban space refers to the human visual system model. In order to mimic human vision, a set of algorithm patterns are used to direct numerous ‘soft’ and ‘hard’ technologies. Mimicry thus has a cost because this insistence on the human visual system model necessitates multiple transformative moments in the production and transmission pipeline. If each transformative moment opens a potential vulnerability within the visioning apparatus, then every glitch testifies to the artificiality of the image. Moreover, every glitch potentially interrupts the political narratives be communicated in contemporary image production and transmission. Paradoxically, the current use of scripting to create glitch-like images has reimagined glitches as a discrete aesthetic category. This article counters this aestheticisation by asserting glitching as a disruption in communication. The argument will rely on scaled tests produced by one of the authors who show how duplicating the digital algorithmic patterns used within the digital imaging pipeline on any exterior building surface glitches the visual data captured within that image. Referencing image-based techniques drawn from the Baroque and contemporary modes of camouflage, it will be argued that the visual aberrations created by these algorithm-based patterned facades can modify strategically the ‘emission signature’ of selected parts of the urban fabric. In this way, the glitch becomes a way to intercede in the digital portrayal of city.

The bootloader of an embedded microcontroller is responsible for guarding the device’s internal (flash) memory, enforcing read/write protection mechanisms. Fault injection techniques such as voltage or clock glitching have been proven successful in bypassing such protection for specific microcontrollers, but this often requires expensive equipment and/or exhaustive search of the fault parameters. When multiple glitches are required (e.g., when countermeasures are in place) this search becomes of exponential complexity and thus infeasible. Another challenge which makes embedded bootloaders notoriously hard to analyse is their lack of debugging capabilities.This paper proposes a grey-box approach that leverages binary analysis and advanced software exploitation techniques combined with voltage glitching to develop a powerful attack methodology against embedded bootloaders. We showcase our techniques with three real-world microcontrollers as case studies: 1) we combine static and on-chip dynamic analysis to enable a Return-Oriented Programming exploit on the bootloader of the NXP LPC microcontrollers; 2) we leverage on-chip dynamic analysis on the bootloader of the popular STM8 microcontrollers to constrain the glitch parameter search, achieving the first fully-documented multi-glitch attack on a real-world target; 3) we apply symbolic execution to precisely aim voltage glitches at target instructions based on the execution path in the bootloader of the Renesas 78K0 automotive microcontroller. For each case study, we show that using inexpensive, open-design equipment, we are able to efficiently breach the security of these microcontrollers and get full control of the protected memory, even when multiple glitches are required. Finally, we identify and elaborate on several vulnerable design patterns that should be avoided when implementing embedded bootloaders.

In this paper, we extend the applicability of differential fault attacks to lattice-based cryptography. We show how two deterministic lattice-based signature schemes, Dilithium and qTESLA, are vulnerable to such attacks. In particular, we demonstrate that single random faults can result in a nonce-reuse scenario which allows key recovery. We also expand this to fault-induced partial nonce-reuse attacks, which do not corrupt the validity of the computed signatures and thus are harder to detect.Using linear algebra and lattice-basis reduction techniques, an attacker can extract one of the secret key elements after a successful fault injection. Some other parts of the key cannot be recovered, but we show that a tweaked signature algorithm can still successfully sign any message. We provide experimental verification of our attacks by performing clock glitching on an ARM Cortex-M4 microcontroller. In particular, we show that up to 65.2% of the execution time of Dilithium is vulnerable to an unprofiled attack, where a random fault is injected anywhere during the signing procedure and still leads to a successful key-recovery.

Car manufacturers deploy vehicle immobiliser systems in order to prevent car theft. However, in many cases the underlying cryptographic primitives used to authenticate a transponder are proprietary in nature and thus not open to public scrutiny. In this paper we publish the proprietary Texas Instruments DST80 cipher used in immobilisers of several manufacturers. Additionally, we expose serious flaws in immobiliser systems of major car manufacturers such as Toyota, Kia, Hyundai and Tesla. Specifically, by voltage glitching the firmware protection mechanisms of the microcontroller, we extracted the firmware from several immobiliser ECUs and reverse engineered the key diversification schemes employed within. We discovered that Kia and Hyundai immobiliser keys have only three bytes of entropy and that Toyota only relies on publicly readable information such as the transponder serial number and three constants to generate cryptographic keys. Furthermore, we present several practical attacks which can lead to recovering the full 80-bit cryptographic key in a matter of seconds or permanently disabling the transponder. Finally, even without key management or configuration issues, we demonstrate how an attacker can recover the cryptographic key using a profiled side-channel attack. We target the key loading procedure and investigate the practical applicability in the context of portability. Our work once again highlights the issues automotive vendors face in implementing cryptography securely.

IntroductionThis essay will focus on some of the connections between digitally transmitted stories, games, narrative processes, and the discipline whose ostensible job is the study of storytelling, namely literature. My observations will be limited to the specific case of computer games, storytelling, and what is often unproblematically referred to as “literature,” in order to focus attention on historical and contemporary features of the development of the relationship between the two that remain largely unexamined. Therefore, one goal of this essay is to re-think this relationship from a fresh perspective, whose “freshness” derives from reopening the past and re-examining what is overlooked when games scholars talk about “narrative” and “literature” as though they were interchangeable.Further, I will discuss the dissemination of narrative on/through various platforms before mass-media, such as textually transmitted stories that anticipate digitally disseminated narrative. This will include specific examples as well as a more general a re-examination of claims made on the topic of literature, narrative and computer games, via a brief review of disciplinary insights from the study of digital games and narrative. The following is therefore intended as a view of games and (literary) narrative in pre-digital forms as an attempt to build bridges between media studies and other disciplines by calling for a longer, developmental history of games, narrative and/or literature that considers them together rather than as separate territories.The Stakes of the Game My reasons for re-examining games and narrative scholarship include my desire to discuss a number of somewhat less-than-accurate or misleading notions about narrative and literature that have been folded into computer game studies, where these notions go unchallenged. I also want to point out a body of work on literature, mimesis and play that has been overlooked in game studies, and that would be helpful in thinking about stories and some of the (digital) platforms through which they are disseminated.To begin by responding to the tacit question of why it is worth asking what literary studies have to do with videogames, my answer resides in the link between play, games and storytelling forged by Aristotle in the Poetics. As a function of imitative play or “mimesis,” he claims, art forms mimic phenomena found in nature such as the singing of birds. So, by virtue of the playful mimetic function ascribed to the arts or “poesis,” games and storytelling are kindred forms of play. Moreover, the pretend function common to art forms such as realist fictional narratives that are read “as if” the story were true, and games played “as if” their premises were real, unfold in playfully imitative ways that produce possible worlds presented through different media.In the intervening centuries, numerous scholars discussed mimesis and play from Kant and Schiller in the 18th century, to Huizinga, and to many scholars who wrote on literature, mimesis and play later in the 20th century, such as Gadamer, Bell, Spariousu, Hutchinson, and Morrow. More recently, games scholar Janet Murray wrote that computer games are “a kind of abstract storytelling that resembles the world of common experience but compresses it in order to heighten interest,” hence even Tetris acts as a dramatic “enactment of the overtasked lives of Americans in the 1990’s” allowing them to “symbolically experience agency,” and “enact control over things outside our power” (142, 143). Similarly, Ryan has argued that videogames offer micro stories that are mostly about the pleasure of discovering nooks and crannies of on-line, digital possible worlds (10).At the same time, a tendency developed in games studies in the 1990s to eschew any connection with narrative, literature and earlier scholarship on mimesis. One example is Markku Eskelinen’s article in Game Studies wherein he argued that “[o]utside academic theory people are usually excellent at making distinctions between narrative, drama and games. If I throw a ball at you I don’t expect you to drop it and wait until it starts telling stories.” Eskelinen then explains that “when games and especially computer games are studied and theorized they are almost without exception colonized from the fields of literary, theatre, drama and film studies.” As Eskelinen’s argument attests, his concern is disciplinary territorialisation rather than stories and their transmedial dissemination, whereas I prefer to take an historical approach to games and storytelling, to which I now direct my attention.Stepping Back Both mimesis and interactivity are central to how stories are told and travel across media. In light thereof, I recall the story of Zeuxis who, in the 5th century BC, introduced a realistic method of painting. As the story goes, Zeuxis painted a boy holding a bunch of grapes so realistically that it attracted birds who tried to enter the world of the painting, whereupon the artist remarked that, were the boy rendered as realistically as the grapes, he would have scared the birds away. Centuries later in the 1550s, the camera obscura and mirrors were used to project scenery as actors moved in and out of it as an early form of multimedia storytelling entertainment (Smith 22). In the late 17th century, van Mieris painted The Raree Show, representing an interactive travelling storyboard and story master who invited audience participation, hence the girl pictured here, leaning forward to interact with the story.Figure 1: The Raree Show (van Mieris)Numerous interactive narrative toys were produced in the 18th and 19th, such as these storytelling playing cards sold as a leaf in The Great Mirror of Folly (1720). Along with the plays, poems and cartoons also contained in this volume dedicated to the South Sea Bubble crisis of 1720, the cards serve as a storyboard with plot lines that follow suits, so that hearts picks up one narrative thread, and clubs, spades and diamonds another. Hence while the cards could be removed for gaming they could also be read as a story in a medium that, to borrow games scholar Espen Aarseth’s terminology, requires non-trivial physical or “ergodic effort” on the part of readers and players.Figure 2: playing cards from The Great Mirror of Folly (1720) In the 20th century examples of interactive and ergodic codex fiction abound, including Hesse’s Das Glasperlenspiel [Glass Bead Game] (1943, 1949), Nabokov’s Pale Fire (1962), Saporta’s Composition No. 1 (1962), and Winterson’s PowerBook (2001) that conceptually and/or physically mimic and anticipate hypertext. More recently, Chloé Delaume’s Corpus Simsi (2003) explicitly attempts to remediate a MMORPG as the title suggests, just as there are videogames that attempt, in various ways, to remediate novels. I have presented these examples to argue for a long-continuum view of storytelling and games, as a series of attempts to produce stories—from Zeuxis grapes to PowerBook and beyond—that can be entered and interacted with, at least metaphorically or cognitively. Over time, various game-like or playful interfaces from text to computer have invited us into storyworlds while partially impeding or opening the door to interaction and texturing our experience of the story in medium-specific ways.The desire to make stories interactive has developed across media, from image to text and various combinations thereof, as a means of externalizing an author’s imagination to be activated by opening and reading a novel, or by playing a game wherein the story is mediated through a screen while players interact to change the course of the story. While I am arguing that storytelling has for centuries striven to interpolate spectators or readers by various means and though numerous media that would eventually make storytelling thoroughly and not only metaphorically interactive, I want now to return briefly to the question of literature.Narrative vs LiteratureThe term “literature” is frequently assumed to be unambiguous when it enters discussions of transmedia storytelling and videogames. What literature “is” was, however, hotly debated in the 1980s-90s with many scholars concluding that literature is a construct invented by “old dead white men,” resulting in much criticism on the topic of canon formation. Yet, without rehearsing the arguments produced in previous decades on the topic of literariness, I want to provide a few examples of what happens when games scholars and practitioners assume they know what literature is and then absorb or eschew it in their own transmedia storytelling endeavours.The 1990s saw the emergence of game studies as a young discipline, eager to burst out of the crucible of English Departments that were, as Eskelinen pointed out, the earliest testing grounds for the legitimized study of games. Thus ensued the “ludology vs narratology” debate wherein “ludologists,” keen to move away from literary studies, insisted that games be studied as games only, and participated in what Gonzalo Frasca famously called the “debate that never happened.” Yet as short-lived as the debate may have been, a negative and limited view of literature still inheres in games studies along with an abiding lack of awareness of the shared origins of stories, games, and thinking about both that I have attempted to sketch out thus far.Exemplary of arguments on the side of “ludology,” was storytelling game designer Chris Crawford’s keynote at Mediaterra 2007, in which he explained that literariness is measured by degrees of fun. Hence, whereas literature is highly formulaic and structured, storytelling is unconstrained and fun because storytellers have no rigid blueprint and can change direction at any moment. Yet, Crawford went on to explain how his storytelling machine works by drawing together individual syntactic elements, oddly echoing the Russian formalists’ description of literature, and particularly models that locate literary production at the intersection of the axis of selection, containing linguistic elements such as verbs, nouns, adjectives and so on, and the axis of combination governed by rules of genre.I foreground Crawford’s ludological argument because it highlights some of the issues that arise when one doesn’t care to know much about the study of literature. Crawford understands literature as rule-based, rigid and non-fun, and then trots out his own storytelling-model based or rigid syntactical building blocks and rule-based laws of combination, without the understanding the irony. This returns me to ludologist Eskelinen who also argued that “stories are just uninteresting ornaments or gift-wrappings to games”. In either case, the matter of “story” is stretched over the rigid syntax of language, and the literary structuralist enterprise has consisted precisely in peeling back that narrative skin or “gift wrap” to reveal the bones of human cognitive thought processes, as for example, when we read rhetorical figures such as metaphor and metonymy. In the words of William Carlos Williams, poetry is a machine made out of words, from whose nuts and bolts meaning emerges when activated, similar to programing language in a videogame whose story is eminent and comes into being as we play.Finally, the question of genre hangs in the background given that “literature” itself is potentially transmedia because its content can take many forms and be transmitted across diverse platforms. Importantly in this regard the novel, which is the form most games scholars have in mind when drawing or rejecting connections between games and literature, is itself a shape-shifting, difficult-to-define genre whose form, as the term novel implies, is subject to the constant imperative to innovate across media as it has done over time.Different Approaches While I just highlighted inadequacies in some of the scholarship on games and narrative (or “literature” when narrative is defined as such) there is work on interactive storytelling and the transmedia dissemination of stories explicitly as games that deals with some of these issues. In their article on virtual bodies in Dante’s Inferno (2010), Welsh and Sebastian explain that the game is a “reboot of a Trecento poem,” and discuss what must have been Dante’s own struggle in the 14th century to “materialize sin through metaphors of suffering,” while contending “with the abstractness of the subject matter [as well as] the representational shortcomings of language itself,” concluding that Dante’s “corporeal allegories must become interactive objects constructed of light and math that feel to the user like they have heft and volume” (166). This notion of “corporeal allegories” accords with my own model of a “body hermeneutic” that could help to understand the reception of stories transmitted in non-codex media: a poetics of reading that includes how game narratives “engage the body hapitically” (Goggin 219).Likewise, Kathi Berens’s work on “Novel Games: Playable Books on iPad” is exemplary of what literary theory and game texts can do for each other, that is, through the ways in which games can remediate, imitate or simply embody the kind of meditative depth that we encounter in the expansive literary narratives of the 19th century. In her reading of Living Will, Berens argues that the best way to gauge meaning is not in the potentialities of its text, but rather “in the human performance of reading and gaming in new thresholds of egodicity,” and offers a close reading that uncovers the story hidden in the JavaScript code, and which potentially changes the meaning of the game. Here again, the argument runs parallel to my own call for readings that take into account the visceral experience of games, and which demands a configurative/interpretative approach to the unfolding of narrative and its impact on our being as a whole. Such an approach would destabilize the old mind/body split and account for various modes of sensation as part of the story itself. This is where literary theory, storytelling, and games may be seen as coming together in novels like Delaume’s Corpus Simsi and a host of others that in some way remediate video games. Such analyses would include features of the platform/text—shape, topography, ergodicity—and how the story is disseminated through the printed text, the authors’ websites, blogs and so on.It is likewise important to examine what literary criticism that has dealt with games and storytelling in the past can do for games. For example, if one agrees with Wittgenstein that language is inherently game-like or ludic and that, by virtue of literature’s long association with mimesis, its “as if” function, and its “autotelic” or supposedly non-expository nature, then most fiction is itself a form of game. Andrew Ferguson’s work on Finnegan’s Wake (1939) takes these considerations into account while moving games and literary studies into the digital age. Ferguson argues that Finnegan’s Wake prefigures much of what computers make possible such as glitching, which “foregrounds the gaps in the code that produces the video-game environment.” This he argues, is an operation that Joyce performed textually, thereby “radically destabilizing” his own work, “leading to effects [similar to] short-circuiting plot events, and entering spaces where a game’s normal ontological conditions are suspended.” As Ferguson points out, moreover, literary criticism resembles glitch hunting as scholars look for keys to unlock the puzzles that constitute the text through which readers must level up.Conclusion My intention has been to highlight arguments presented by ludologists like Eskelinnen who want to keep game studies separate from narrative and literary studies, as well as those game scholars who favour a narrative approach like Murray and Ryan, in order to suggest ways in which a longer, historical view of how stories travel across platforms might offer a more holistic view of where we are at today. Moreover, as my final examples of games scholarship suggest, games, and games that specifically remediate works of literature such as Dante’s Inferno, constitute a rapidly moving target that demands that we keep up by finding new ways to take narrative and ergodic complexity into account.The point of this essay was not, therefore, to adapt a position in any one camp but rather to nod to the major contributors in a debate which was largely about institutional turf, and perhaps never really happened, yet still continues to inform scholarship. At the same time, I wanted to argue for the value of discussing the long tradition of understanding literature as a form of mimesis and therefore as a particular kind of game, and to show how such an understanding contributes to historically situating and analysing videogames. Stories can be experienced across multiple platforms or formats, and my ultimate goal is to see what literary studies can do for game studies by trying to show that the two share more of the same goals, elements, and characteristics than is commonly supposed.ReferencesAristotle. Poetics, Trans. J. Hutton. New York: W.W. Norton & Company, 1982.Aarseth, Espen. Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins UP, 2007.Behrens, Kathi. “‘Messy’ Ludology: New Dimensions of Narrator Unreliability in Living Will.” No Trivial Effort: Essays on Games and Literary Theory. Eds. Joyce Goggin and Timothy Welsh. Bloomsbury: Forthcoming.Bell, D. Circumstances: Chance in the Literary Text. Lincoln: Nebraska UP, 1993. Delaume, Chloé. Corpus Simsi. Paris: Éditions Léo Scheer, 2003.Eskelinen, Markku. “The Gaming Situation”. Game Studies 1.1 (2011). <http://www.gamestudies.org/0101/eskelinen/>. 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