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  1. Deeper into the Machine: The Future of Electronic Literature

    N. Katherine Hayles's keynote address for the 2002 State of the Arts Symposium at UCLA. Hayles identifies two generations of electronic literature: mainly text-based works produces in Storyspace and Hypercard until about 1995-1997, and second-generation works, mainly authored in Director, Flash, Shockwave and XML in years after that. She identifies second-generation works as "fully multimedia" and notes a move "deeper into the machine." She then reads a number of second-generation works in the context of their computational specificity.

    Publication note: Also published online in Culture Machine Vol. 5 (2003)

    Scott Rettberg - 30.05.2011 - 12:38

  2. Mutability, Medium and Character

    Looking specifically at the genre of adaptive narrative, this article explores the future ofliterature created for and with computer technology, focusing primarily on the trope of mutability as it is played out with new media. Some of the questions asked are: What can the medium of a work of literature, that is its material aspect, tell us about the text? About character? What can it possibly matter if narrative is recounted on papyrus, retold on parchment and rag, and then remediated in pixels? Isn’t it the message carried by the medium we are most concerned with, stable or unstable the process of inscription, reinscription, encoding and decoding, translation and remediation? This paper speculates about possibilities rather than attempts to answer these questions, but the structuring and mean-making components considered here stand as examples of some we may want to think about when developing future theories about literature – and all types of writing –generated by and for electronic environments.

    Source: Author's Abstract

    Dene Grigar - 06.10.2011 - 07:14

  3. Reading, Writing, and Teaching Creative Hypertext: A Genre-Based Pedagogy

    The present essay contributes a genre-based pedagogy, until now only hinted at by hypertext theorists and not imported into the domain of hypertext by genre theorists. While I focus on creative hypertexts—autobiographies and popular genres like soap operas and road trip stories—a genre-based pedagogy can also be used to guide students through the production of informational, academic, community or club Web sites, personal home pages, and whatever blurred or evolving genres students are inspired by and see fit to explore.

    I advance a genre-based pedagogy for teaching the reading and writing of creative hypertext to enable teachers of hypertext to start from what they know and to provide them and their students with concrete terms and models. Such a pedagogy, especially if informed by recent scholarship on genre's flexible and rhetorical nature, requires students to make various choices not only about form but about compositional concerns: tone, diction, prose style, character development, plot, setting, visual design, and hypertext navigation strategies. (Source: from actual paper)

    Jill Walker Rettberg - 01.11.2011 - 12:22

  4. Interview with Pauline Masurel

    Conversation between Jim Andrews and Pauline Masurel about the conceptual ideas and practices behind the creation of Blue Hyacinth. The original Blue Hyacinth notebook was a six-month online experiment to write a text for each day, all somehow reflecting the theme of blue hyacinth.

    Patricia Tomaszek - 04.05.2012 - 13:57

  5. 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

  6. After 391: Picabia's early multimedia experiments

    This essay attempts to answer a simple question: why did Francis Picabia stop publishing 391? By October 1924, when the final issue was published, 391 was the longest running magazine related to dada and the burgeoning surrealist movement, and Picabia was well established as one of the premiere avant-gardists in Paris and beyond, with literary, artistic and personal connections to all the major players in the movements that had turned the art world upside down for almost a decade. What caused him to suddenly cease publication of his provocative (but well respected) journal?

    (Source: author's abstract.)

    Chris Joseph - 27.06.2012 - 07:34

  7. Storyspace 1

    Storyspace, a hypertext writing environment, has been widely used for writing, reading, and research for nearly fifteen years. The appearance of a new implementation provides a suitable occasion to review the design of Storyspace, both in its historical context and in the context of contemporary research. Of particular interest is the opportunity to examine its use in a variety of published documents, all created within one system, but spanning the most of the history of literary hypertext.

    EDITOR'S NOTE: This paper is interesting for the technical background it provides on many often-analysed works of electronic literature.

    Jill Walker Rettberg - 28.06.2013 - 14:49

  8. Node And Network In Los Angeles: The Electronic Literature Organization's State of the Arts Symposium, 2002

    Node And Network In Los Angeles: The Electronic Literature Organization's State of the Arts Symposium, 2002

    Scott Rettberg - 29.06.2013 - 12:50

  9. Hypertext: Merkmale, Forschung, Poetik

    Die Diskussion um den Hypertext ist älter als das WWW, das, als Mega-Hypertext, seine populärste Umsetzung darstellt. Seit Theodor Holm Nelson in den 60er Jahren Hypertext als "non-linear text" bezeichnete, gab es Zeit und Raum genug für Missverständnisse. Einmal abgesehen von Gérald Genettes völlig anderem Hypertextbegriff aus den frühen 80er Jahren, bestehen Meinungsverschiedenheiten und Zweifel darin: 1. inwiefern ein intern oder extern verlinkter Hypertext als geschlossenes oder offenes Gebilde zu lesen ist; 2. inwiefern die Leser selbst im Hypertext schreiben (und somit zu Koautoren werden) oder nur vorgegebenen Links folgen (und somit für viele noch immer zu Koautoren werden) können; 3. ob die Macht des Autors im Hypertext gesunken oder gestiegen ist; 4. ob der Hypertext dekonstruktivistische Theorien umsetzt oder negiert; 5. ob computererzeugte aleatorische Texte Zukunft oder Sackgasse der Literatur im Rechner sind; 6. wie man Links semantisieren kann und 7. welches Potential der Hypertext für die Literatur besitzt. Der Beitrag greift diese Fragen auf und versucht, in einer umfangreichen Erörterung einige davon zu klären.

    Jill Walker Rettberg - 03.07.2013 - 12:37

  10. French e-poetry: A short/long story

    If I believe professor Alain Vuillemin I was twelve years old when France began to pay attention to computer based poetry. In 1959, in France, Raymond Queneau and François Le Lionnais created the "Séminaire de Littérature Expérimental " (Experimental Seminar of Literature), which became shortly after his creation in 1960, the well known "OULIPO". Oulipo was interested in the secret possibilities of these "new machines for information treatment". (In between, Theo Lutz had in Stuttgart produced the very first electronic poetry, "stochastichte text" in Augenblick). But nothing concrete rolled out the huge machine.

    Jill Walker Rettberg - 27.08.2013 - 14:17

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