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  1. The Aesthetics of Materiality in Electronic Literature

    According to the French author and theoretician Jean-Pierre Balpe, “all digital art works are first conceived outside the framework of a pragmatic relation to materiality. Any manifestation of digital art is but a simulated moment of an absent matter.”

    However, I wish to show that there is at least as much materiality in the digital media as in other media. Of course, as a formal description, digital and material can be distinguished. Digital media correspond to formalization, insofar as formalization is understood as the modelling of a given reality through the use of a formal code. But because digital media refers to the effectiveness of digital calculation, it can be considered as “material”, at least on two levels:

    Eric Dean Rasmussen - 27.01.2011 - 15:39

  2. For Thee: A Response to Alice Bell

    In an essay that responds to Alice Bell's book The Possible Worlds of Hypertext Fiction (Palgrave Macmillan, 2010), Stuart Moulthrop uses the lessons of hypertext as both an analogy and an explanation for why hypertext and its criticism will stay in a "niche" - and why, despite Bell's concern, that's not such a bad thing. As the response of an author to his critic, addressed to "thee," "implicitly dragging her into the niche with me," this review also dramatizes the very productivity of such specialized, nodal encounters.

    Eric Dean Rasmussen - 03.02.2011 - 11:01

  3. These Waves of Memories: A Hyperfiction by Caitlin Fisher

    The web-based ‘hypermedia novella’ These Waves of Girls by Caitlin Fisher won the first prize in the fiction category awarded by the Electronic Literature Organization in 2001. In this article I’ll take a closer look on some of the aspects of this work, a confessional autobiography about a girl coming to terms with her lesbian identity. The article is structured around a set of relations: the relation between the critic and the work; textual and audio-visual representation; personal and social relations; hypertextual structure and autobiographical, unreliable narration. These Waves is a class-room example of the so-called associative hypertext. The hypertextual structure is also closely linked to the problematics of autobiographical narration.. As readers we get to ponder about the nature of remembering, of telling stories about one’s life. One of the genuine accomplishments of Fisher’s work is to bring forth these questions in a tangible, and still discreet, way.

    (Source: author's abstract).

    Eric Dean Rasmussen - 20.03.2011 - 09:58

  4. Comparative Analysis of the Cyberfeminist Hyperfiction and New Media Art work: Francesca da Rimini’s Dollspace

    Comparative Analysis of the Cyberfeminist Hyperfiction and New Media Art work: Francesca da Rimini’s Dollspace

    Eric Dean Rasmussen - 30.08.2011 - 12:36

  5. Reading (De)coherent Hypertexts: a Creative Performance Based on a Close Reading of the German Hyperfiction Zeit für die Bombe

    Reading (De)coherent Hypertexts: a Creative Performance Based on a Close Reading of the German Hyperfiction Zeit für die Bombe

    Eric Dean Rasmussen - 02.05.2012 - 12:04

  6. Frankophone Hyperfiction

    Frankophone Hyperfiction

    Patricia Tomaszek - 12.07.2012 - 17:18

  7. Hyperfiktion und interaktive Narration

    Mit Hyperfiktion hat sich ein Phänomen herausgebildet, das sich die Verbindung von Literatur und Computertechnik schöpferisch zu Nutzen macht und experimentell nach neuen Formen sucht. Die entstehenden Hybridformen sind in erster Linie beliebig manipulierbare binäre Daten, die in mehrfacher Hinsicht von transitorischer Flüchtigkeit geprägt sind. Die Bewegung der Hyperfiktion und Netzliteratur steht noch am Anfang: in einer experimentellen Frühphase. So ist die Spurenaufnahme und Analyse ihrer Entwicklung immer auch ein Balanceakt zwischen Archäologie und Futurologie. Diese Arbeit versucht innerhalb dieser beiden Pole Grundlagenarbeit zu leisten für eine neue experimentelle Form von Literatur.

    (Source: Beat Suter in Dichtung Digital)

    Patricia Tomaszek - 10.10.2012 - 18:14

  8. Hyperfiction: Hyperliterarisches Lesebuch: Internet und Literatur

    Mit dieser Publikation wird erstmals in deutscher Sprache ein hyperliterarisches Lesebuch mit integrierter CD-ROM vorgelegt, das neben theoretischen Texten auch eine repräsentative Zusammenstellung hyperfiktionaler literarischer Texte enthält. Die CD-ROM enthält 24 ausgewählte Hyperfictions. Die 12 theoretischen Beiträge können in Printform wie auch elektronisch gelesen werden.

    Jörgen Schäfer - 07.11.2012 - 17:21

  9. From Text to Hypertext: Decentering the Subject in Fiction, Film, the Visual Arts, and Electronic Media

    It is a tenet of postmodern writing that the subject—the self—is unstable, fragmented, and decentered. One useful way to examine this principle is to look at how the subject has been treated in various media in the premodern, modern, and postmodern eras. Silvio Gaggi pursues this strategy in From Text to Hypertext, analyzing the issue of subject construction and deconstruction in selected examples of visual art, literature, film, and electronic media. Gaggi concentrates on a few paradigmatic works in each chapter; he contrasts van Eyck's Wedding of Arnolfini with the photography of Cindy Sherman and Barbara Kruger; examines fiction that centers on an elusive subject in works by Conrad, Faulkner, and Calvino; and explores the ability of such films as Coppola's One from the Heart and Altman's The Player to emancipate the subject through cinematography and editing.

    Scott Rettberg - 13.12.2012 - 22:20

  10. Literature as Echo: Mark Z. Danielewski's House of Leaves

    Este ensaio analisa em profundidade o romance House of Leaves (2000) de Mark Z. Danielewski. O romance, com marcas de textualidade digital, apresenta-se como um sistema englobante e multi-estratificado, ficcionalmente construído por diferentes autores e narrativas. Deste modo, estas narrativas formam uma obra total que revela e parodia diversos aspectos do romance gótico, assim como outros géneros e modos. Porém, a sua estrutura é formalmente urdida como uma narrativa hipertextual. Por estes motivos, seria inexacto classificar House of Leaves como sendo ou um ou outro objecto literário, pelo que proponho uma leitura “participativa” nestas categorizações.
    Por último, examino o conceito de eco, que é explorado por Danielewski no capítulo V, como uma dimensão essencial para compreender a progressão das personagens ao longo da narrativa. Esta perspectiva permite-me concluir que a literatura só atinge o seu potencial quando se manifesta como uma produção singular de eco, ou como uma ausência desconcertante de eco, no sentido de um desconforto e de um estranhamento (ostranenie) na consciência do leitor.

    Alvaro Seica - 18.03.2013 - 01:03

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