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Cybertext: Perspectives on Ergodic Literature
Cybertext explores the aesthetics and the textual dynamics of digital literature and its many diverse genres such as hypertext fiction, computer games, computer generated poetry and prose, and collaborative Internet texts such as MUDs. However, instead of insisting on the uniqueness and newness of "electronic writing" or "interactive fiction" (phrases which mean very little) the author situates these new literary forms within the larger and much older field of "ergodic" literature, from the ancient Chinese I Ching to the literary experiments of the OuLiPo. These are open, dynamic texts where the reader must perform specific actions to generate a literary sequence, which may vary for every reading. Aarseth constructs a theoretical model that describes how these literary forms are different from each other, and demonstrates how the widely assumed divide between paper texts and electronic texts breaks down under careful analysis.
Patricia Tomaszek - 21.09.2010 - 10:59
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Copy, Rip, Burn: The Politics of Copyleft and Open Source
Copy, Rip, Burn: The Politics of Copyleft and Open Source
David M. Berry - 21.09.2010 - 10:59
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The Philosophy of Software: Code and Mediation in the Digital Age
The Philosophy of Software: Code and Mediation in the Digital Age
David M. Berry - 21.09.2010 - 11:06
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Autopoiesis: novelty, meaning and value
Autopoiesis: novelty, meaning and value
Simon Biggs - 21.09.2010 - 11:16
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Hamlet on the Holodeck: The Future of Narrative in Cyberspace
Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form.
(Source: Publisher's description)
Published in paperback by the MIT Press, 1998.
Jill Walker Rettberg - 14.01.2011 - 12:17
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Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology
Hypertext 2.0: The Convergence of Contemporary Critical Theory and Technology
Jill Walker Rettberg - 14.01.2011 - 12:19
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Littérature numérique: le récit interactif
The expression interactive literary narrative applies to a variety of works. In its diversity, the interactive literary narrative raises questions on narratives, interactive architecture, multimedia as well as on literature. It is because the interactive literary narrative is wrought by tensions that it has this questioning and maybe even revealing capacity.
Scott Rettberg - 30.01.2011 - 15:03
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Matières textuelles sur support numérique
Matières textuelles sur support numérique
Scott Rettberg - 30.01.2011 - 17:45
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The Possible Worlds of Hypertext Fiction
Publisher's blurb: Written in hypertext and read from a computer, hypertext novels exist as a collection of textual fragments, which must be pieced together by the reader.The Possible Worlds of Hypertext Fiction offers a new critical theory tailored specifically for this burgeoning genre, providing a much needed body of criticism in a key area of new media fiction.
Table of Contents: The Universe of Hypertext Fiction
Hypertext Fiction and the Importance of Worlds
Contradictions, World Views and the Nature of Truth in Michael Joyce's (1987) afternoon--a story
Going, Going, Gone: the Slippery Worlds of Stuart Moulthrop's (1995) Victory Garden
Is there a Mary/Shelley in this World? Parody and Counterparts in Shelley Jackson's (1997) Patchwork Girl
The Colourful Worlds of Richard Holeton's (2001) Figurski at Findhorn on Acid
Bibliography
IndexEric Dean Rasmussen - 01.02.2011 - 11:43
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Reading Network Fiction
David Ciccoricco establishes the category of "network fiction" as distinguishable from other forms of hypertext and cybertext: network fictions are narrative texts in digitally networked environments that make use of hypertext technology in order to create emergent and recombinant narratives. Though they both pre-date and post-date the World Wide Web, they share with it an aesthetic drive that exploits the networking potential of digital composition and foregrounds notions of narrative recurrence and return.Eric Dean Rasmussen - 18.02.2011 - 20:31