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1. Frequently Asked Questions about "Hypertext"

   Frequently Asked Questions about "Hypertext" is a short fiction, in the form of a FAQ document, that revolves around various interpretations of a 69-word poem called "Hypertext." The poem "Hypertext," nominally by "Alan Richardson," is composed from all the hidden words/anagrams contained within the nine-letter word "hypertext." The tongue-in-cheek interpretations of the fictional poem include the perspectives of language poetry, cultural studies, feminism, and transgender studies. Emerging through the interpretations and FAQ answers, however, are the interwoven "real-life" stories of the troubled author and his/her troubled critics. The poem's notoriety creates a fan fiction phenomenon centered around an online database, which, along with its creator(s), comes under attack. As in Nabokov's Pale Fire, pseudo-literary criticism gives way to a mystery story about the real author of the text, transformation and transsexuality, love and murder.

   (Source: Author description, ELC 1).

   Eric Dean Rasmussen - 09.05.2011 - 12:53

2. I Have Said Nothing

   This hypertext narrative includes two fatal car crashes. The plot of this story motivates its readers to navigate their way through the story of loss, death, and media. This chilling story also encourages the readers to a chaotic retrospective thinking and reflection.
   With the use of hypertext links, the plot only progresses by the help from its readers through active participation and the choices they make with the point-and-click system

   Jill Walker Rettberg - 28.07.2011 - 14:42

3. Le Nœud

   Le Nœud

   Eric Dean Rasmussen - 17.08.2011 - 16:04

4. Mountain Rumbles

   "Mountain Rumbles" demonstrates the integral relationship between structure and content. To paraphrase Brother Antonius, who said the symbol IS the symbolized--and the symbolized IS the symbol, the structure IS the content--and the content IS the structure. To emphasize this relationship, "Mountain Rumbles" is based on the japanese kanji for mountain. These micro-hypertexts further show that we can have one-minute hypertexts--that connections are not based on the size of the content, but rather the content itself.

   Scott Rettberg - 12.10.2011 - 12:41

5. WOE

   According to the description of WOE in the New Media Reader, where it was republished on a CD inserted into the book, it was "a hypertext that was a radical departure for author Michael Joyce from his modernist hypertext classic afternoon: a story. "WOE" combines narrative material with metafictional passages, typographic experiments, notes to and about hypertext theorists, and even images; it creates a heterogeneous browsing experience of the sort familiar to today's Web readers (or fans of Mark Z. Danielewski's House of Leaves)."

   Jill Walker Rettberg - 15.10.2011 - 20:45

6. Turning In

   A hypertext coming-of-age novel.

   Scott Rettberg - 15.10.2011 - 21:03

7. Notes Toward Absolute Zero

   Notes Toward Absolute Zero interweaves historical documents of the ill-fated Franklin expedition with the personal reminiscences of a woman in search of her hypnotist uncle and of the the man who, in turn, searches for her. Follow Jericho, Magel, and Winter as their lives intersect and diverge across an eerie landscape dotted with relics, forgotten lists, train wrecks, scraps from journals, ghost ships, poetry, postage stamps, Mesmer's propositions, and -- of course -- The Six Failures of Love.

   (Source: Publisher's description from Eastgate Catalog)

   Scott Rettberg - 16.10.2011 - 00:01

8. Gabriella infinita

   Gabriella Infinita es una obra metamórfica. Su presencia corre paralela a una intensa y a la vez voluble experiencia de escritura. Nace como toda obra artística: por gracia de una necesidad expresiva muy intima. Pero, apenas brota, empieza a buscar alocadamente su forma, como ávida de cuerpo, como presintiendo su fragilidad y su contingencia. Y termina comprendiendo que estaba destinada a la volatilidad.

   Pero esa conciencia siempre estuvo lejos de ser alcanzada fácilmente. Sufrió al comienzo, en su primera fase de formalización, la negligencia majadera de sus lectores; después, la terquedad imposible de su autor que le impidió mutar con libertad. Finalmente, hubo de someterse a la desintegración de sus elementos. Ahora, en su tercera metamorfosis, espera nerviosa, como una quinceañera asustada en su primera cita a ciegas, el encuentro con su lector.

   (Source: description from Gabriella Infinita, "historia"
   )

   Sandra Hurtado - 07.12.2011 - 18:21

9. popołudnie, pewna historia

   Jeśli wybitne narracje poznaje się po tym, że są dramatyzacją swojego działania, to popołudnie, pewna historia wzorowo wypełnia ten postulat. W labiryntowym świecie paranoi bohater, niczym Edyp, poszukuje odpowiedzi na pytanie „kto zabił?”. Czytelnik, który za nim podąża, wciągnięty zostaje przez tekst w ślepe odnogi, fabularne pętle i światy możliwe. Powieść staje się alegorią swojej własnej lektury, a jej nierozstrzygalność sprawia, że powraca się do niej latami.

   Patricia Tomaszek - 03.02.2012 - 01:37

10. Signal to Noise

    "Signal to Noise" is a web-native hypertext designed for concurrent navigations by multiple readers, whose interactions with the text subtly influence one another's parallel readings in realtime. 

    Artist Statement:

    "Signal to Noise" is a web-native hypertext designed to be read by multiple people simultaneously. 

    The interface is linked to a database via Ajax. A PHP engine tracks the parallel navigations and behavior of active users and responds by broadcasting relevant fragments, subtext, and other ephemera to all readers in realtime. Readers' concurrent movements through the narrative have subtle effects on one another's experiences. While readers are unable to directly communicate among themselves or evoke representative avatars in the virtual environment (with one clear exception), echoes and ripples are unavoidably left on the surface of the global text with every followed link. In time, these ripples subside and disappear. 

    Scott Rettberg - 28.03.2012 - 12:28

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