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Gutenberg Galaxy Revis(it)ed: A Brief History of Combinatory, Hypertextual and Collaborative Literature from the Baroque Period to the Present
"Gutenberg Galaxy Revis(it)ed: A Brief History of Combinatory, Hypertextual and Collaborative Literature from the Baroque Period to the Present"
Literature in computer-based media cannot be contemplated without a long literary tradition.
This article aims at substantiating this assumption with numerous examples of combinatory,
hypertextual and collaborative texts from German literary history since baroque
times. Therewith it provides us with a historical basis in order to work out the common
features and differences that with computers have entered literary texts.Source: author's abstract in book publication
Jörgen Schäfer - 28.06.2011 - 14:58
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Hyperfiction: Novels for the Computer
Coover's second significant New York Times' Books article reviewed contemporary hypertexts most substantially including Stuart Moulthrop's Victory Garden, as examples of works that have "printbound analogues" but suggested that new narrative forms were beginning to emerge.
Scott Rettberg - 06.09.2011 - 13:38
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New Narratives: Stories and Storytelling in the Digital Age
Just as the explosive growth of digital media has led to ever-expanding narrative possibilities and practices, so these new electronic modes of storytelling have, in their own turn, demanded a rapid and radical rethinking of narrative theory. This timely volume takes up the challenge, deeply and broadly considering the relationship between digital technology and narrative theory in the face of the changing landscape of computer-mediated communication.
New Narratives reflects the diversity of its subject by bringing together some of the foremost practitioners and theorists of digital narratives. It extends the range of digital subgenres examined by narrative theorists to include forms that have become increasingly prominent, new examples of experimental hypertext, and contemporary video games. The collection also explicitly draws connections between the development of narrative theory, technological innovation, and the use of narratives in particular social and cultural contexts.
Scott Rettberg - 14.10.2011 - 12:52
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A Cartography of the Aesthetics and Locality of Forgetting: Preliminary Remarks on Samuel Delany’s Dhalgren, Mark Amerika’s Hypertextual Consciousness [beta-version] and Christopher Nolan’s Memento
Theodoros Chiotis - 15.10.2011 - 13:52
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Cyborg: Engineering the Body Electric
An early non-fiction hypertext exploring "the significance of the cyborg in 20th century writing. from Thomas Pynchon and William Gibson to Haraway and Derrida." This book-length work was published as a stand-alone Storyspace hypertext on a disk/CD-ROM.
This work was published under Diane Greco Josefowicz' earlier name, Diane Greco.
Jill Walker Rettberg - 15.10.2011 - 20:00
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Hypernews and Coherence
This essay seeks to illuminate certain fundamental aspects of textual and cognitive coherence in the production and reading of hypertexts in general and hypernews in particular. A division into intranodal, internodal and hyperstructural coherence helps to clarify concepts and also seems to reflect certain distinctive features of hypertext as a concept representing a linguistic level above the text level. Likewise, van Dijk's conceptual distinction between macro- and superstructures proves to be useful for demonstrating how axial and networked hyperstructures respectively may maintain, strengthen or weaken various forms of textual coherence. (Source: journal abstract)
Jill Walker Rettberg - 16.11.2011 - 12:07
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Hypertextual Rhythms (The Momentary Advantage of Our Awkwardness)
Michael Joyce's paper, "Hypertextual Rhythms (The Momentary Advantage of Our Awkwardness)," addresses the historical moment of recent hypertext fiction. He will suggest that the common perception of hypertext as an awkward and opaque mode of discourse may actually make it easier to grasp its historical significance. Before the novelty of the electronic medium fades, and electronic text assumes the transparency that printed text now has, we may better understand it as a distinct representational form.
Joyce presented this paper as part of a special session, "Hypertext, Hypermedia: Defining a Fictional Form," at the 1992 MLA Convention. The panel was chaired by Terence Harpold. Other panelists included pioneering hypertext authors: Carolyn Guyer, Judy Malloy, and Stuart Moultrhop.
(Source: Humanist Archives Vol. 6 : 6.0338 Hypertext at MLA)
Eric Dean Rasmussen - 01.01.2012 - 13:30
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An Interview with Talan Memmott
Talan Memmott is Assistant Professor of digital media and culture in the Digital Culture and Communications program at Blekinge Institute of Technology and an internationally known practitioner of electronic literature and digital art with a practice ranging from experimental video to digital performance applications and literary hypermedia. In June 2011 I met with Talan to discuss the history of beehive Hypertext Hypermedia Literary Journal, which he founded and edited.
David Prater - 20.01.2012 - 11:10
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Beyond Myth and Metaphor: Narrative in Digital Media
The concept of narrative has been widely invoked by theorists of digital textuality, but the promotion of what is described as the storytelling power of the computer has often relied on shallow metaphors, loose conceptions of narrative, and literary models that ignore the distinctive properties of the digital medium. Two myths have dominated this theorization. The myth of the Aleph (as I call it) presents the digital text as a finite text that contains an infinite number of stories. The myth of the Holodeck envisions digital narrative as a virtual environment in which the user becomes a character in a plot similar to those of Victorian novels or Shakespearean tragedies. Both of these myths rely on questionable assumptions: that any permutation of a collection of lexias results in a coherent story; that it is aesthetically desirable to be the hero of a story; and that digital narrativity should cover the same range of emotional experiences as literary narrative. Here I argue that digital narrative should emancipate itself from literary models. But I also view narrative as a universal structure that transcends media.
Eric Dean Rasmussen - 15.05.2012 - 14:07
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What Hypertext Is
Over the past couple decades, as the term "hypertext" has gained a certain popular currency, a question has been raised repeatedly: "What is hypertext?" Our most respected scholars offer a range of different, at times incompatible, answers. This paper argues that our best response to this situation is to adopt the approach taken with other terms that are central to intellectual communities (such as "natural selection," "communism," and "psychoanalysis"), a historical approach. In the case of "hypertext" the term began with Theodor Holm ("Ted") Nelson, and in this paper two of his early publications of "hypertext" are used to determine its initial meaning: the 1965 "A File Structure for the Complex, the Changing, and the Indeterminate" and the 1970 "No More Teachers' Dirty Looks." It is concluded that hypertext began as a term for forms of hypermedia (human-authored media that "branch or perform on request") that operate textually. This runs counter to definitions of hypertext in the literary community that focus solely on the link. It also runs counter to definitions in the research community that privilege tools for knowledge work over media.
Scott Rettberg - 25.05.2012 - 14:15
