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This Is Not a Novel
If David Markson is anything like Writer, a lugubrious fellow who pops up intermittently in ''This Is Not a Novel,'' his latest experimental outing, he seems to have written a book that's entertaining in spite of himself. Writer mopes around, feeling ''weary unto death of making up stories'' and ''equally tired of inventing characters.'' In an apparent bid to make his readers just as miserable, he wishes to ''contrive'' a ''novel'' without either.
By: Laura Miller
(Source: https://archive.nytimes.com/www.nytimes.com/books/01/04/01/bib/010401.rv...)
Ana Castello - 03.10.2018 - 13:42
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wwwwwwwww.jodi.org
wwwwwwwww.jodi.org
Ana Castello - 28.10.2018 - 14:36
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The Inform Designer’s Manual
Inform is a system for creating adventure games, and this is the book to read about it. It translates an author’s textual description into a simulated world which can be explored by readers using almost any computer, with the aid of an ‘‘interpreter’’ program. Inform is a suite of software, called the ‘‘library’’, as well as a compiler. Without the library, it would be a major undertaking to design even the smallest game. The library has two ingredients: the ‘‘parser’’, which tries to make sense of the player’s typed commands, and the ‘‘world model’’, a complex web of standard rules, such as that people can’t see without a source of light. Given these, the designer only needs to describe places and items, mentioning any exceptional rules that apply. (‘‘There is a bird here, which is a normal item except that you can’t pick it up.’’) This manual describes Inform 6.21 (or later), with library 6/9 (or later), but earlier Inform 6 releases are similar.
Martin Li - 17.09.2020 - 16:50
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Ted the Caver
Ted the Caver is a gothic hypertext fiction piece regarded as one of the earliest examples of 'creepypasta' or online horror legend. Published to the free Angelfire web hosting service in early 2001, it’s presented as the authentic hypertextual diary of a man called Ted and documents his exploration of a 'mystery' cave system. During publication, Ted the Caver gained broad popularity. Although this has since waned, it continues to be shared among those who discuss gothic experiences (Taylor, 2020).
Ted the Caver has been credited with pioneering two foundational aspects of online horror fiction—the use of real-time updates and the use of hyperlinks, the latter of which gave the work "a distinctive digital quality that could not have been reproduced on paper" (Crawford, 2019).
Works cited:
T. R. Taylor, "Horror Memes and Digital Culture," in The Palgrave Handbook of Contemporary Gothic, C. Bloom, Ed., Cham, Switzerland: Palgrave Macmillan, 2020, pp. 985-1003.
Tegan Pyke - 24.04.2023 - 16:01
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Precession of the Equinoxes
This work uses similar software to that used in Babel, another 3D multi-user internet piece by the artist. Viewers logged in to the work are confronted with a 3D visualisation of a space formed as a receding array of words. As the viewer moves the mouse around the screen they are able to navigate this 3D environment. If the viewer types a word on their keyboard then when they press the RETURN key that word will appear in their own 3D array (the white words). Continuing to do this will cause the words to cascade through the array. These words are also broadcast to all the other viewers logged on (along with the viewers mouse coordinates, allowing each viewers 3D location to be calculated) such that everybody can read what the viewer has written. All the viewers are thus able to see what all the other viewers, who are simultaneously logged onto the site, are seeing. The multiple 3D views of the word-space are montaged together into a single shared image, where the actions of any one viewer effects what all the other viewers see.
Simon Biggs - 21.09.2010 - 11:37
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e-cris
e-cris est un dispositif textuel et graphique de lecture-écriture "dans le même mouvement". Le principe du lien hypertextuel est ici détourné de ses fonctions habituelles de navigation au profit d'une activité d'écriture à partir de vingt et un textes personnels qui disent - un peu - de l'activité d'écrire. e-cris devait à l'origine s'hybrider avec le dispositif de saturation graphique saturactions selon certaines règles de conditions. On peut voir ce système embryonnaire dans la version 1.7 de e-cris, mais je ne l'ai pas poussé plus loin, préférant conduire les deux essais séparément. Cliquer sur un mot revient à l'écrire dans un autre texte - le texte-à-écrire - placé sous le texte-à-lire. Le texte écrit l'est donc seulement à partir d'un autre et selon le procédé littéraire du centon (ici à l'échelle du mot et non de la phrase). Que pourrez-vous écrire de personnel avec mes mots ? Luc Dall'Armellina - 2001
Eric Dean Rasmussen - 09.02.2011 - 12:22
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Biennale.py
Biennale.py
Mark Marino - 28.03.2011 - 16:44
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RedRidinghood
Leishman's playful retelling of the Little Red Riding Hood fairy tale makes use of comic book vernacular, limited forms of explorative interaction, optional narrative paths, and a jazzy soundtrack. RedRidinghood is the type of Flash piece that suggests the potential for complex forms of interactive storytelling without typographic text.
(Source: Electronic Literature Collection, Vol. 1)
Eric Dean Rasmussen - 29.04.2011 - 09:55
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The Book After the Book
One is not after the novelty of cyberculture, nor striving to reinforce the now tedious discourse of the Internet’s redeeming potential as a computer web able to candidly unite all humanity into a global village.
This wouldn’t be more than a chapter in the spectacular history being successfully elaborated in the last ten years by the computer and software industry.
This narrative confers to the selfsame industry the power and the mission to inaugurate a new era. But digital writing points to another direction. It celebrates the loss of inscription by removing the trace from acts of erasure.
~
Scott Rettberg - 23.05.2011 - 13:47
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Desde aquí
This hypertext fiction presents three characters: Sofía, Mara and Carlos. Through a poetical language full of metaphors and philosophical thoughts the reader clicks on links to follow the fragmented and disorganized story. The story is incomplete and open to the reader's interpretation. Why Sofía wants to abandon her life? Mara and Carlos have a relationship but what is the relationship between Sofía and Carlos? Why are they so depressed when they think about the past? The readers must find the answers (Maya Zalbidea Paniagua)
Maya Zalbidea - 18.07.2014 - 21:06
