Published on May 18th, 2018 | by Emergent Enterprise0
Ambient Lit: The Ambitious Project to Redesign Fiction for Phones
Designers and writers are finding ways to create new forms of storiesâall on the smartphone.
Emails, blog posts, and social media feeds were designed to be read on screens, but plenty of people still prefer a good physical book for reading fiction. What if screens could bring another dimension to literature, utilizing tech to create a new kind of experience where books respond to your presence as a reader, making the world around you part of the story?
These are the driving questions behind the project Ambient Literature. A collaboration between the U.K. universitiesÂ UWE Bristol, Bath Spa University, and the University of Birmingham, Ambient Lit has published three stories over the course of two years that adapt to the readerâs environment using GPS and weather data from their phone. As the project comes to an end this summer, Co.Design caught up with the writers, academics, and creative technologists behind Ambient Lit to learn what they discovered about the future of literature.Â In a world dominated by smartphones, storytellers are using all kinds of technology, from location data to blockchain, to turn reading stories on a screen into a new kind of immersive experience.
âWeâre living in a phase where visual media is so readily available to us and visual media is so seductive for us,â says Kate Pullinger, an author who worked on a mobile-first ghost story called Breathe for Ambient Lit. âPart of what Iâm interested in is what does it mean to read on screen in this world we live in thatâs dominated by visual media. What kind of reading experience might be native to the smartphone in a way that just sticking an e-book on your phone isnât?â
Open up the link to Breatheâwhich recommends you use a smartphone to read itâand the page will ask for your permission to use information like your location and your camera. When you agree, it uses three different data sets to personalize the story to your setting every time you read it: location, weather, and season. When you read the story on a rainy Monday in New York City, thatâs referenced in the story.
âThe world is full of ghosts,â Pullinger writes. âItâs as though they were there all along, waiting, with me in my room, with you in New York, on my phone, in your house, in the air that we breathe.â
As I swipe through the storyâs screens, getting deeper into the main characterâs perspective, the text continues to reference where I am in the world. And during creepy interludes, the background behind the text shifts into whatever my phoneâs camera is looking at as the ghost takes over the story. âIâm close by,âÂ BreatheÂ narrates. âIâm on Greenwich Street already. You need meânot her.â Greenwich is the street my office is located on.
Thereâs no change in the storyâs interface that indicates these locations have been swapped in, making it a very slight shiftâone that readers might not even notice unless they come back to the story weeks or months later. But thatâs part of the point. âItâs subtle and hopefully that contributes to the slightly uncanny feeling that readers have that the story knows where they are,â Pullinger says.
Matching the form of the story to how technology brings it alive is a crucial tenet of Ambient Lit. âWe never start with tech because we believe that the story needs to be the driver for the experience that we would like to share with readers,â says Anna Gerber, creative lead for the project Editions at Play, which produced Breathe.
Editions at Play is a collaborationÂ between the London-based publisher Visual Editions and Google Creative Lab in Sydney, Australia. Similar to Ambient Literature, the project aims to create new forms of digital literature that canât be printed and instead use technology to reimagine a centuries-old art form. With this goal, Gerber and her business partner, Britt Iversen, have created experiments like the first book built on the blockchain, a story about a man who goes insane, which has text that slowly disintegrates, and another work that uses Google Street View as a narrative mechanism to travel around the world.
Ambient Literature commissioned two other stories besides Pullingerâs, both of which take the form of apps. One, It Must Have Been Dark by Then by Duncan Speakman, combines a physical book with audioâwhich people listen to via an appâand incorporates the readerâs geographical surroundings into the story. The other, The Cartographerâs Confession by James Atlee, can only be experienced in London, and combines audio with historical photos. Both utilize location data to create different kinds of stories that adapt to the readerâa stark contrast to traditional novels that ask readers to engage in their fictional world.
Other features of the smartphone besides location data can find their way into the story, too: Another thriller Pullinger wrote (outside the Ambient Lit project), calledÂ Jellybone, pulls out all the stops, utilizing vibrations, video, audio, and even pinging notifications. However, not all tech should become part of literature. Pullinger says that during the design process for Breathe, she and Editions at Play experimented with pulling in real-time headlines about the war in Syria to the story, but were never able to quite make it work in a seamless way.
For creators on the cutting edge of literature, thereâs no shortage of emerging tech to experiment with. Pullinger is especially interested in augmented realityâshe imagines a âreading experience version of PokĂ©mon Go.â Gerber and Iversenâs next literary project, which they plan to release in the next month, features machine learning. Gerber says sheâs drawn to the idea of an on-demand book, which could transform some of the personalization possibilities of a digital book into a high-quality physical copy.
While these experimental forms of digital-first literature might seem esoteric, other examples have already gained a foothold. In Japan, novels designed for the cell phone have been popular for years. Famous authors like David Mitchell, Jennifer Egan, Tao Lin, and Teju Cole have written partial or full stories on Twitter. Even Pottermore, J.K. Rowlingâs fan website, is a form of digital literature. Pullingerâs story Breathe and many of the Editions at Play stories are easily accessible online for anyone whoâs interested.
Many of the more ambitious works in this categoryâlike Vanitas, an app-based story that requires you to visit a participating cemeteryâhave a very small audience. Compared to paperbacks, digital books are, ironically, far less popular despite the ease of access. After all, Pullinger says, âin some ways, you could argue that a good book is the most immersive experience of all.â
So whatâs the value for writersâand the medium of literature itselfâin these technological experiments? Matt Hayler, a lecturer at the University of Birmingham whoâs part of the Ambient Lit project, likens these kinds of technological forays to the work of literary greats in the past. âWoolfâs and Joyceâs experiments with literature were so important in shaping what the form could do,â Hayler says. âJoyce and Woolf just became part of the landscape of what a novel could do. It doesnât matter if these experiments arenât read by everybody, as long as theyâre encountered by people who are excited by them and incorporate them into their own work. â
Ambient Literature could do similar things for digital-first books. The first step may sound counter-intuitive: ensuring novelties like digital books that are personalized to a readerâs environment become so common that using a phoneâs capabilities for literary purposes just isnât that remarkable anymore. âYour phone having GPS is a literary thing that feels new,â Hayler says. âAs long as it feels new itâll feel weird. The moment 20 stories have done it really well, then it becomes part of the fabric of things people can draw on. Itâs part of the fabric of writing now.â