Search

The search found 6 results in 0.011 seconds.

Search results

1. Semantisation, Exploration, Self-reflection and Absorption: Our Modes of Reading Hypertext Fiction

   "How do we read hypertext fiction? The question has been widely explored (Moulthrop 1991; Kaplan and Moulthrop 1991; Snyder 1997; Miall and Dobson 2001; Ryan 2001; Gardner 2003; Gunder 2004; Landow 2006; Mangen 2006; Page 2006) and there seems to be a consensus regarding the reader’s experience of hypertext fiction. Many critics actually claim that reading hypertext fiction generates frustration and insecurity. These and other studies describe how their readers react on and respond to hypertext fiction, but, as I see it, they partly fail in that they put to much weight on the reader’s responds and hardly no weight on the fact that hypertext fiction just like print fiction encourage or prefigure different responses and different modes of reading. The consequence is that these studies suffers from limitations witch lessens their valuable contribution to our knowledge about reading hypertext fiction. One reason for this might be that hypertext theory lack established concepts for describing response structures that encourage different modes of reading.

   Eric Dean Rasmussen - 27.01.2011 - 15:13

2. Interview with Michael Joyce

   Archivist Gabriela Redwine interviewed author Michael Joyce during his visit to the Ransom Center in April 2009. Excerpts from the interview are available as audio files and transcripts. Joyce talks about the reader community around early hypertexts, before they were even published and were just being passed from person to person on floppy disks, about connections between his work and Modernist authors (Stein, Joyce), about lowercase letters not being an obvious requirement to early computer programmers, about e-lit authors having to be their own critics and about the sensation of writing the first line of afternoon and knowing that this was different from conventional literature.

   Jill Walker Rettberg - 14.02.2011 - 11:43

3. "Uncle Roger", an Online Narrabase

   Uncle Roger is a "narrabase" or narrative database. It was first told as an online serial on Art Com Electronic Network (ACEN) and then was published as an interactive online database on ACEN. It is also available as computer software for both Apple II and IBM-compatible computers. The narrabase form uses a computer database to build up levels of meaning. The artist explains how this form evolved from her visual books and her information databases. She discusses the story and structure of Uncle Roger and describes how the story was told and published in an online community. In the conclusion she discusses the future of computer literature.

   (Source: author's abstract for paper)

   Jill Walker Rettberg - 04.04.2011 - 20:49

4. 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

5. 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

6. Understanding Interactive Fictions as a Continuum: Reciprocity in Experimental Writing, Hypertext Fiction, and Video Games

   This thesis examines key examples of materially experimental writing (B.S. Johnson's The Unfortunates, Marc Saporta's Composition No. 1, and Julio Cortázar's Hopscotch), hypertext fiction (Geoff Ryman's 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these 'interactive' texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly 'infinite' text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing.

   Martin Sunde Eliassen - 22.09.2020 - 19:31