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1. 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
   Index

   Eric Dean Rasmussen - 01.02.2011 - 11:43

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. Speak, "Memory": Simulation and Satire in Reagan Library

   Speak, "Memory": Simulation and Satire in Reagan Library

   Eric Dean Rasmussen - 23.03.2011 - 13:43

4. Experiments in Literary Cartography

   Coover wrote: “The most distinctive literary contribution of the computer has been (...) the intimate layering and fusion of imagined spatiality and temporality.” Of course, by “spatiality” Coover meant the topologies of text non-linear in its presentation, not a more literal representation of space. I discuss my experiments using the Google Maps API as an interface for hypertext fiction. This of course is not in itself new, but there are some possibilities in cartography-oriented fiction I would like to call attention to. In particular:

   1. Using a familiar interface, such works may introduce a broader audience to Electronic Fiction, without dumbing it down;

   2. The Golden Age’s concerns with spatiality are recast now with a third extra dimension, represented space in a more literal sense. The realm of topological possibilities in this intertwining – temporality, textual structure, represented space – is vast. 3. Such works inevitably touch upon our subjective relationship with space, and the shifting modes of our articulation thereof. Three works are presented:

   Audun Andreassen - 10.04.2013 - 11:56

5. Process-Intensive Fiction

   Unlike digital poetry, which has pursued process-intensive directions throughout its history, the dominant directions of digital fiction make relatively light use of computational processes. Whether one looks at the traditions of hypertext fiction, interactive fiction, or video games, the primary model is a set of connections (traveled in different manners) between largely static chunks of language. This panel explores a set of alternatives to this model. The suggested potential panelists include the author of the first book on this topic, published in 2009 (Wardrip-Fruin); one of the authors of Facade, the first fully realized interactive drama (Mateas); the creator of Curveship, a new interactive fiction tool that introduces discourse-level variation as a first-class parameter (Montfort); a prominent author, commentator, and tool builder (Short); the author of Blue Lacunae, a vast, highly variable interactive fiction (Reed); the creator of new algorithms for literary variability based on conceptual blending (Harrell); and the author of the mainstream game industry's most ambitious project in this space, Far Cry 2 (Redding).

   Audun Andreassen - 10.04.2013 - 13:39

6. Estética de la hipernovela. Un género de la inestabilidad

   Nos preguntamos en este estado de la cuestión: ¿cuando pensamos en la HN, se trata
   solamente de un caso de traducción de formato? Y, ¿qué implicaciones y efectos tiene la
   HN para la crítica literaria? ¿El crítico puede usar solamente los instrumentos de análisis
   del código “escrito” impreso?

   Maya Zalbidea - 15.08.2014 - 15:08