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Unheard Music: Twine and Its Priority
When he created Twine, Kris Klimas apparently did not think he was building a hypertext platform, rather an intervention into the broader, perhaps distinct tradition of interactive fiction. By 2009 the hypertext moment may have completely passed, leaving Twine within a different dispensation. Reinforcing this impression, some prominent Twine users have disclaimed any links between their work and that of earlier digital writers, notably the Storyspace contingent, decrying their elders’ commercial publishing model and noting that pay barriers have made turn-of-the-century work inaccessible to them. In thinking about how Twine fits into software culture, we thus face a continuity gap. In technical and (perhaps more arguably) aesthetic dimensions, Twine inherits from and extends the hypertextual experiment; yet there are no formal or institutional connections. Twine works may be in some respects a second coming of hypertext fiction (and many other things as well), but without awareness of prior art.
Amirah Mahomed - 05.09.2018 - 15:38
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From Codex to Code: Computational Poetics and the Emergence of the Self- Reading Text
So irretrievably connected is the act of reading to works of print that any comparable digital engagement with a text often seems best considered as a unique activity of its own. Whatever we are doing with words viewed via electronic screens, doggedly poking at them with our fingers, moving them about from document to document with a simple double-click, or jumping erratically from one link to another in an ever-growing, highly fluid hypertext, we are not “reading” them. In her book, Paper Knowledge: Toward a Media History of Documents (Duke UP, 2014), Lisa Gitelman similarly adds, “[w]ritten genres in general are familiarly treated as if they were equal to or coextensive with the sorts of textual artifacts that habitually embody them. . . . Say the word ‘novel,’ for instance, and your auditors will likely imagine a printed book, even if novels also exist serialized in nineteenth century periodicals, published in triple-decker (multivolume) formats and loaded onto—and reimagined by the designee and users of—Kindles, Nook, and iPads” (3).
Jane Lausten - 03.10.2018 - 16:07
