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1. Intertextuality in Digital Poetry

   Despite postmodern and deconstructivist studies in the field, interxtuality is still often viewed as a process of textual closure: in that vision a text refers to an older text, and once we have found the source, the intertextual interpretation is completed.

   Riffatterre, for example, seems to suggest this in his article ‘Intertextuality vs Hypertextuality’ (1994). Riffaterre stated here that intertextuality and hypertextuality should be distinguished, since the former is finite, while the latter is infinite. He defines hypertextuality as ‘the use of the computer to transcend the linearity of the written text by building an endless series of imagined connections, from verbal associations to possible worlds, extending the glosses or the marginalia from the footnotes of yesteryear to metatexts’ (Riffaterre 1994: 780) Intertextuality, on the other hand, ‘depends on a system of difficulties to be reckoned with, of limitations in our freedom of choice, of exclusions, since it is by renouncing incompatible associations within the text that we come to identify in the intertext their compatible counterparts’ (ibid: 781).

   Eric Dean Rasmussen - 27.01.2011 - 17:01

2. How to Read Words in Digital Literature

   How to Read Words in Digital Literature

   Eric Dean Rasmussen - 23.03.2011 - 14:17

3. Screening the Page/Paging the Screen: Digital Poetics and the Differential Text

   Screening the Page/Paging the Screen: Digital Poetics and the Differential Text

   Eric Dean Rasmussen - 30.05.2011 - 14:33

4. The Digital Poem against the Interface Free

   Recent e-literature by Judd Morrissey and Jason Nelson represents a broad movement in e-literature to draw attention to the move toward the so-called “interface free” – or, the interface that seeks to disappear altogether by becoming as “natural” as possible. It is against this troubling attempt to mask the workings of the interface and how it delimits creative production that Judd Morrissey creates “The Jew’s Daughter” – a work in which readers are invited to click on hyperlinks in the narrative text, links which do not lead anywhere so much as they unpredictably change some portion of the text. Likewise working against the clean and transparent interface of the Web, in “game, game, game and again game,” Jason Nelson’s hybrid poem-videogame self-consciously embraces a hand-drawn, hand-written interface while deliberately undoing videogame conventions through nonsensical mechanisms that ensure players never advance past level 121/2. As such, both Morrissey and Nelson intentionally incorporate interfaces that thwart readers’ access to the text so that they are forced to see how such interfaces are not natural so much as they define what and how we read and write.

   Eric Dean Rasmussen - 05.10.2011 - 09:09