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1. The Database, the Interface, and the Hypertext: A Reading of Strickland's V

   The uniqueness of a new-media work is the mobility of its elements, present as binary code in computer, yet capable of being mobilized into action through user interaction or through programming. Many new media works make full use of multiple functionalities of current software applications, bringing to light in unique ways the effect a well-designed interface can have on the meaning-making process. How do we read these digital texts that mutate with the touch of a key? What is the role of the medium in the meaning-making process? Though I explore these questions, I also attempt to go beyond them to see if new media works can serve as a lens to reflect on the postmodern condition. Strickland's V: Losing L'una/WaveSon.nets/Vniverse (2003), with a dual existence in print and the electronic medium, is especially useful for this exploration. It is self-reflexive as it comments on both reading and writing practices. It also lies at the intersection of multiple discourses of science, technology, philosophy, literature and art.

   Scott Rettberg - 07.07.2013 - 20:17

2. Into the Space of Previously Undrawable Diagrams: An Interview with Stephanie Strickland by Jaishree Odin

   Into the Space of Previously Undrawable Diagrams: An Interview with Stephanie Strickland by Jaishree Odin

   Scott Rettberg - 07.07.2013 - 20:50

3. Writing at the Limit: The Novel in the New Media Ecology

   While some cultural critics are pronouncing the death of the novel, a whole generation of novelists have turned to other media with curiosity rather than fear. These novelists are not simply incorporating references to other media into their work for the sake of verisimilitude, they are also engaging precisely such media as a way of talking about what it means to write and read narrative in a society filled with stories told outside the print medium. By examining how some of our best fiction writers have taken up the challenge of film, television, video games, and hypertext, Daniel Punday offers an enlightening look into the current status of such fundamental narrative concepts as character, plot, and setting. He considers well-known postmodernists like Thomas Pynchon and Robert Coover, more-accessible authors like Maxine Hong Kingston and Oscar Hijuelos, and unjustly overlooked writers like Susan Daitch and Kenneth Gangemi, and asks how their works investigate the nature and limits of print as a medium for storytelling.

   J. R. Carpenter - 08.07.2013 - 12:20

4. Talan Memmott's "Lexia to Perplexia"

   The combination of dynamic screen presentations with integrations of visual and textual ciphers is a characteristic of a net projects´ group in Memmott´s work. "Lexia to Perplexia" (2000) provokes attention as a maturated example of this group. Memmott developed "Lexia to Perplexia" as a hyperfiction combining icons, parts of codes resp. punctuation marks and neologisms via DHTML and Javascript. Users can investigate the possible screen presentations of the ten source codes resp. chapters. Memmott´s combinations of textual parts with pictures reflect relations between users (as "remote bodies"), their screens and networks. This article on "Lexia to Perplexia" explains connections between the internal parts of the project and proposes some clues for the interpretation of (relations between) ciphers in the hope to facilitate reading and deciphering.

   (Source: Author's abstract)

   Scott Rettberg - 08.07.2013 - 13:15

5. Scott Rettberg: Interview by Simon Mills

   Scott Rettberg: Interview by Simon Mills

   Scott Rettberg - 08.07.2013 - 22:10

6. A File Structure for the Complex, the Changing and the Indeterminate

   THE KINDS OF FILE structures required if we are to use the computer for personal files and as an adjunct to creativity are wholly different in character from those customary in business and scientific data processing. They need to provide the capacity for intricate and idiosyncratic arrangements, total modifiability, undecided alternatives, and thorough internal documentation. I want to explain how some ideas developed and what they are. The original problem was to specify a computer system for personal information retrieval and documentation, able to do some rather complicated things in clear and simple ways. In this paper I will explain the original problem. Then I will explain why the problem is not simple, and why the solution (a file structure) must yet be very simple. The file structure suggested here is the Evolutionary List File, to be built of zippered lists. A number of uses will be suggested for such a file, to show the breadth of its potential usefulness. Finally, I want to explain the philosophical implications of this approach for information retrieval and data structure in a changing world.

   (Source: Author's abstract, ACM digital library)

   Scott Rettberg - 09.07.2013 - 00:44

7. Le récit littéraire interactif. Narrativité et interactivité

   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. This tension is first and foremost that which lies between narrativity and interactivity and which investigates other connections or tensions :
   - with regards to the narrative, the tension between adherence and distance can be characterized by a play on fictionalization and reflexivity;
   - with regards to the interactive architecture, the tension between assistance and control roles can
   manifest itself by a play on loss of grasp,
   - with regards to the multimedia, the tension between a text-based narrative and a multimedia
   narrative can be reached by work on text as a dynamic and polysemiotic object, and also the
   theatralization of interactive objects endowed with behaviour,

   Patricia Tomaszek - 09.07.2013 - 20:19

8. Internet Hyperfiction: Can it ever Become a Widely Popular Artform?

   Since 1982 multilinear and interactive literature has been written in the hypertext media. Until now the authors have been obsessed with traditional literary conventions, which has often made the hypertexts seem rather academic and pretentious. But that may change. During the last five years a new breed of writers have discovered the possibilities on the Internet. They address a wider audience than lecturers and very enthusiastic bibliophiles, in a form that finds a more popular balance between traditional storytelling virtues and the more avant-garde elements. This new tendency can be observed in hyperfictions like The Unknown and on the following pages I will establish how and why it should be possible to make hyperliterature more popular than it is at the present, if writers are willing to move a little further towards the more lay readers. As an example of how this could be happening the conclusion will list what seems to be the main reasons why The Unknown to a higher degree seems to succeed when it comes to capturing the reader without losing any of the experimental edge that is still a part of hypertext due to its modest age.

   (Source: Thesis abstract)

   Scott Rettberg - 16.07.2013 - 15:42

9. Transdução: Processos de Transferência na Literatura e Arte Digitais

   Electronic Literature and Digital Art share many processes, themes, creative and theoretical guidelines. In this sense, I developed a critical framework that could resist to a hyperdisciplinary analysis and include one of the characteristics of this sharing pattern: the transfer and transformation processes. In order to recognize these processes I have done an approach of the transduction concept that could perform a theoretical migration on these aspects: the transducer function. Thus, the transducer function appears in the critical analysis of the works by Mark Z. Danielewski, Stuart Moulthrop, R. Luke DuBois and André Sier. The selected works are representative of the following genres: novel, hyperfiction, net.art and digital installation, drawing on phenomena and concerns resulting from the creative production within the digital culture. In this research I have enhanced mechanisms, patterns, languages and common grounds: authorship, user, cybertext, surface, hypertext, infoduct, interactivity, pixel, algorithm, code, programming, network, software and data. (Source: Author's abstract)

   Alvaro Seica - 15.08.2013 - 15:59

10. Offene Texte und nicht-lineares Lesen. Hypertext und Textwissenschaft

    Offene Texte und nicht-lineares Lesen. Hypertext und Textwissenschaft

    Scott Rettberg - 20.08.2013 - 10:39

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