In this episode of "Off Center," Scott Rettberg, Director of the Center for Digital Narrative at the University of Bergen, interviews Caitlin Fisher, a pioneer of immersive AR and VR and Director of the Immersive Storytelling Lab at York University.

Can ChatGPT or other Chatbot interfaces really write anything better than a feeble imitation of postmodern cut-up techniques? Polina and James Mackay think so, and they offer some reasons for holding onto a human, guiding intelligence in the writing process.

A Review of Bookishness, by Jessica Pressman.

Like so many generic literary reconstructions, comics are now being transformed into information -- a process that, for postdoctoral scholar Ilan Manouach, is concomitant with the expansion of tools and services in the field of generative AI. Like so many AI emergences (and emergencies), this one poses important challenges to the comics industry and the careers of comics professionals.

With this brief look at Large Language Model surrealism, Nick Montfort locates and identifies "the id of the internet, of publishing, of podcasting."

Hypertext pioneer Robert Arellano discusses the genre with Scott Rettberg, Director of the Center for Digital Narrative (CDN).

Further memories from yet another student of William Gaddis during the time when WG taught at Bard.

Elliot Yates examines Gaddis’s first corporate writing assignment, with the company Textron, which seems to coincide directly with his first conception of the plot for J R. Textron was one of the first US corporations to explicitly pursue conglomerate “diversification” through buying up seemingly unrelated businesses, and Yates shows how this not only helped generate the plot of J R, but functions as a key to understanding its formal design.

Kate Michelson Goldkamp surveys the Juvenilia preserved in Gaddis’s archive, finding, among other things, early prefigurations of his “delight[] in the macabre” in some illustrated mini-stories, hints of the boy JR's worldview in studies of US geography, and doodles that prefigure some of the published fiction’s hand-drawn illustrations.

Scott Zieher offers some creative non-fiction in praise of perhaps Gaddis’s least-lauded publication: the lavishly illustrated and sample-provisioned “masterwork of printed ephemera” A Pile Fabric Primer. How did this mysterious document come to be, and what does it tell us about the creative writer's working conditions?

After noting how J R was a reflection of postmodern society and antiheroic traditions in America in the 1970s, Lalita Kashoba Mohan signals a similar postmodern turn in her homeland, India, and other countries "whose economic development is now following America’s earlier path."

Cole Fishman argues that Gaddis should be recognized for his contributions to philosophy, no matter what the "disciplinary gatekeepers" think.

Translator Francine Ozaki reads The Recognitions through the overarching debates of twentieth-century translation theory, finding the conflict between Wyatt’s and Otto’s handling of Forgery, Originality, and Authenticity illuminating the concerns of today's professional translators. Questions of credit, treachery, allegiance, payment, and dependency are so fully addressed in the novel that translators and translation theorists should be reading it to help make sense of their own artistic and professional roles.

David Ting excavates the archived compositional history of Agapē Agape to test what we can learn from the marginal annotations in Gaddis’s working library, focusing on his copy of Susan Stebbing’s Philosophy and the Physicists. Ting finds Gaddis testing his own ideas against those of Stebbing and her sources, while making outward connections between this technical material and his literary reading in Plato and Faust. Illuminating the novel’s chronological evolution, Ting also provides us a case study in tracking how authors use their reading as a “means of invention.”

A personal recitation of Paul Ingendaay's career as a "lifelong" associate editor with the Frankfurter Allgemeine. Ingendaay also shares with us a recollection of the slow, belated but definitive situation of Gaddis's lifework in the German literary canon.