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1. Choice vs. Interaction: the Case of Online Caroline

   Reader choice among links in hypertext has often been classified as a form of interactiuvity and has sometimes been claimed as empowering the reader. The case of the website Online Caroline, however, shows that it is possible for apparent choice and interaction to serve only to further constrain and dictate the reader's experience. We must be careful to distinguish meaningful from superficial choice when evaluating “interactive fiction” and its potential.

   Jill Walker Rettberg - 26.01.2011 - 23:29

2. Dali Clocks: Time Dimensions of Hypermedia

   Stephanie Strickland investigates an epistemological shift in web-specific art and literature, from an understanding that is less about structure and more about resonance. (Source: ebr) Artists discussed include: Tom Brigham, Jim Rosenberg, Mary Anne Breeze (mez), Noah Wardrip-Fruin, Lisa Jevbratt, and Edardo Kac.

   Eric Dean Rasmussen - 08.07.2011 - 11:43

3. Screaming Screen and Binary Idealism

   Screaming Screen and Binary Idealism

   Johannes Auer - 05.11.2012 - 18:26

4. From (Command) Line to (Iconic) Constellation

   From (Command) Line to (Iconic) Constellation

   Scott Rettberg - 30.01.2013 - 14:02

5. Card Shark and Thespis: Exotic Tools for Hypertext Narrative

   Card Shark and Thespis are two newly-implemented hypertext systems for creating hypertext narrative. Both systems depart dramatically from the tools currently popular for writing hypertext fiction, and these departures may help distinguish between the intrinsic nature of hypertext and the tendencies of particular software tools and formalisms. The implementation of these systems raises interesting questions about assumptions underlying recent discussion of immersive, interactive fictions, and suggests new opportunities for hypertext research.

   Jill Walker Rettberg - 14.06.2013 - 09:15

6. Reader/Readers

   The paper will present a percepto-cognitive theory of e-poetry. This theory uses a non-ontologic approach of literature in which the concept of "text" cannot be defined independendly from the mind representation for the system. This conception, named "theorie du texte lié à une profondeur" (theory of text linked to a deep) will be present. In this theory, the main concepts are the mind representation of the system, named the "profondeur de dispositif" (system-deep), and the set of elements which can be perceived as a classical text. This set is named the "texte-à-voir" (text-to-be-seen). The system-deep which seems to govern the real behaviour of the system in e-literature is named the procedural archetype. The paper will present the main caracteristic features of it, specially the particular position of the reader. The most important features relative to the reading are the "double reading" and the "aesthetics of frustration": to construct the sense of a work, the reader "has to read his reading", even if the work is non-interactive. This particularity is named "double reading".

   Patricia Tomaszek - 28.10.2013 - 14:22

7. Poesia e(m) Computador

   Conference paper presented at Congresso Internacional da Associação Portuguesa de Literatura Comparada, Estudos Literários/Estudos Culturais. In: Actas do IV Congresso Internacional da Associação Portuguesa de Literatura Comparada, Estudos Literários/Estudos Culturais, Évora.

   Alvaro Seica - 03.12.2013 - 16:23

8. Hypertext and comics: towards an aesthetics of hypertext

   From Author: The paper aims at understanding how comic art rhetoric can be used to better understand hypertext, in an attempt to develop an aesthetics of hypertext.

   Heidi Haugsdal Kvinge - 28.09.2021 - 13:46

9. The Reader as Author as Figure as Text

   The paper takes a short look at the much discussed dismissal of the author in hypertext collaborative writing and discusses the role of authorship in three German collaborative writing projects. The results are: 1. Collaboration sometimes works like collaboration with the 'enemy.' The pleasure of some collaborative writing projects therefore comes not so much from the story itself as from what the text reveals about its authors. 2. The attraction of some collaborative writing project lies in the setting more than in the contributed texts. What fails as Netliterature may get a second chance as Netart. 3. If the program of a collaborative writing project automatically and randomly creates the links and develops the structure of the whole, it takes over the collaboration between authors and their texts. The conclusion is: As the text itself becomes more and more part of a technical setting, and as the program moves more and more into the center, the project of collaborative writing increasingly dismisses the reader. To a user who accidentally stops by and starts to read, the text itself doesn't say all that much.

   Patricia Tomaszek - 14.09.2010 - 12:19