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The Many Ends of Network Fictions: Gamebooks, Hypertexts, Visual Novels, Games and Beyond
This paper presents a digital humanities structural approach to branching stories across several media forms and genres over the past six decades – with special attention to patterns of endings in different narrative networks, as well as meta-patterns that mark the beginnings and endings of genres of branching literature.
Hannah Ackermans - 14.11.2015 - 15:58
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Ephemeral Words, Ephemeral People: Suicide and Choice in Twine Games
On April 10th, 2014, game designer Porpentine released a game called Everything you swallow will one day come up like a stone with the intention of deleting it at the end of the day: “This game will be available for 24 hours and then I am deleting it forever. You can download it here until then. What you do with it, whether you distribute, share, or cover it, is up to you.” The game has lived on through what Porpentine predicted as “social means,” but it was designed as an ephemeral text, and one which the author deliberately destroyed as part of the act of creation. This idea of a vanishing text is interwoven with the experience of electronic literature, as Marjorie C. Luesebrink notes, as part of a practice of “text erasure” as embracing “self-undermining, undecidability, disdain for commercialization, ambivalence about technology, struggle against the presence of text itself, and response to overwhelming data” but also “the fragility of memory” (2014).
Hannah Ackermans - 27.11.2015 - 14:52
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Murmurs, Open Corpus of Online Written Poetry – The End of Isolated Poems
Murmurs seeks to gather and link texts written with a poetic intention and available in the net in order to present them in a consistent form within the outline of a hypertext. These texts will be identified by an algorithm and interconnected through semantic links generated with the use of coincident words.
Thanks to this process, the texts with poetic format, already published online, will become a sole extensive and surfable piece that can be analyzed and can receive feedback from blogs, twits, and by any other indexable means. This way we seek to generate a piece of e-poetry by uniting those expressive texts in the net that cannot individually be classified as e-poetry. In order to achieve this we will use algorithmic processes, databases, crawlers for indexing, Big Data analysis, all presented as self-generated hypertexts.
The study of these texts through systems of computer linguistics will allow finding coincidences in the use of language with expressive intentions in the net. In a second moment, an API (application programming interface) will open and allow the free processing of the information gathered.
Hannah Ackermans - 28.11.2015 - 14:09
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Pathfinders: Documenting the Experience of Early Digital Literature
Pathfinders was a project that lasted from 1986 to 1995 and went through a process of documenting hypertext fiction and poetry. To document the works they videotaped each artist and two additional readers interacting with a work on its original computer platform, also called traversal. Besides the traversal videos, it also includes videos of interviews with the artists and readers of the works included, photos of the artifacts, folio covers etc. Pathfinders has also during the process striven to provide information helpful to scholars, gathering information like publication dates, versions and production methods to clear up any disagreements about this information.
Dene Grigar - 21.06.2016 - 19:11
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Sleepless in Seattle
First, IN.S.OMNIA operates from the premise that the domain of literature as such is no longer in synch with cultural experience in contemporary America. Rather than “look for ‘the next big thing’ in literature,” IN.S.OMNIA asks, “What if the next big thing already surrounds us, embedded in small gestures we perform every day? What if the next big thing is the realization that we have changed the way we use culture - remapping, rewiring, renetworking the same old pool of elements in new ways, adding to them furtive scribbles, seeking pleasures without naming them?
tye042 - 25.09.2017 - 15:45
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Cyberinthian Ways
Linda Brigham hypercontextualizes contemporary philosophy.
Although a hard-copy book and a hypertext essay hardly present us with apples and oranges, this particular pair troubles the work of comparison. This trouble is not simply a matter of form. Content-wise as well, Arkady Plotnitsky’s interdisciplinary exploration of poststructural metaphysics (or “meta-physics”) and David Kolb’s meditation on the textuality of philosophy relate to each other in a fashion at once too intimate and divergent. Like Blake’s Clod and Pebble from the Songs of Experience, they are contraries, or, to pick up the theme, “complementary.” As Blake would insist, though, it is through such contraries that progress happens.
tye042 - 26.09.2017 - 10:38
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Writing the Paradigm
An overview of Gregory Ulmer’s thought by Victor Vitanza.
1. How do we not know we think, yet think?
Gregory Ulmer (a.k.a. ‘Glue’) has been for some time developing a theory of invention that would be appropriate and productive for those cultural theorists who have an interest in electronic media. (Invention, classically defined in oral and print culture, is the art of recalling and discovering what it is that one would think or say about a given subject. In electronic culture, invention takes on new ramifications). In his Applied Grammatology (1985), Ulmer moves from Derridean deconstruction (a mode of analysis that concentrates on inventive reading) to grammatology (a mode of composition that concentrates on inventive writing); that is, he moves towards exploring “the nondiscursive levels - images and puns, or models and homophones - as an alternative mode of composition and thought applicable to academic work, or rather, play.
tye042 - 26.09.2017 - 13:01
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HYPER-LEX: A Technographical Dictionary
Paul Harris hybridizes the terms of hypertextual discourse and takes it to a higher power.
The spirit or at least pervasive desire of our age revolves around a sort of transparency: a desire to project ourselves as a surface of permeable traces, to exfoliate, let the inside become the outside, to become fully visible like the meat and bones of a Cronenberg character, while remaining invisible like the little hacker ghost (Turing’s Demon?) that tracks text in the Random Access Memory banks of the machine onto whose screen we splash words. In large part, the attractive force that transparency exerts is an effect of media culture; simultaneously, however, transparency marks a limit of im-mediacy - an unmediated, collapsed sensation where we can see the neurophysiology of our brains or the shapes of and linkages among our words. This is an immediacy of the sensory that never shades into the tactile - it is rather the immediacy of sensing the medium itself, of clicking tracks around the computer screen or dredging up hidden treasures on the Netscape of our lives.
tye042 - 05.10.2017 - 13:57
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A Gathering of Threads
The culmination of ebr version 2.0 (an html- and java-based Web production), the spring 1999 “gathering of threads” introduced an important component into the journal design: the thREAD that actively conducts readers among affiliated essays.
(Source: ebr)
Lisa Berwanger - 17.10.2017 - 15:45
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Graphic or Verbal: A Dilemma
J. Hillis Miller looks at the “multimedia” Victorian novel, embodied in ink, paper, cardboard, and glue.
(Source: ebr)
Lisa Berwanger - 17.10.2017 - 15:54
