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1. Semantisation, Exploration, Self-reflection and Absorption: Our Modes of Reading Hypertext Fiction

   "How do we read hypertext fiction? The question has been widely explored (Moulthrop 1991; Kaplan and Moulthrop 1991; Snyder 1997; Miall and Dobson 2001; Ryan 2001; Gardner 2003; Gunder 2004; Landow 2006; Mangen 2006; Page 2006) and there seems to be a consensus regarding the reader’s experience of hypertext fiction. Many critics actually claim that reading hypertext fiction generates frustration and insecurity. These and other studies describe how their readers react on and respond to hypertext fiction, but, as I see it, they partly fail in that they put to much weight on the reader’s responds and hardly no weight on the fact that hypertext fiction just like print fiction encourage or prefigure different responses and different modes of reading. The consequence is that these studies suffers from limitations witch lessens their valuable contribution to our knowledge about reading hypertext fiction. One reason for this might be that hypertext theory lack established concepts for describing response structures that encourage different modes of reading.

   Eric Dean Rasmussen - 27.01.2011 - 15:13

2. Ex-foliations: Reading Machines and the Upgrade Path

   In Ex-foliations, Terry Harpold investigates paradoxes of reading’s backward glances in the theory and literature of the digital field. In original analyses of Vannevar Bush’s Memex and Ted Nelson’s Xanadu, and in innovative readings of early hypertext fictions by Michael Joyce and Shelley Jackson, Harpold asserts that we should return to these landmarks of new media scholarship with newly focused attention on questions of media obsolescence, changing user interface designs, and the mutability of reading. In these reading machines, Harpold proposes, we may detect traits of an unreadable surface—the real limit of the machines’ operations and of the reader’s memories—on which text and image are projected in the late age of print. (Source: Publisher's website.)

   Eric Dean Rasmussen - 24.02.2011 - 09:48

3. Intermediation: The Pursuit of a Vision

   Twenty-first century literature is computational, from electronic works to print books created as digital files and printed by digital presses. To create an appropriate theoretical framework, the concept of intermediation is proposed, in which recursive feedback loops join human and digital cognizers to create emergent complexity. To illustrate, Michael Joyce's afternoon is compared and contrasted with his later Web work, Twelve Blue. Whereas afternoon has an aesthetic and interface that recall print practices, Twelve Blue takes its inspiration from the fluid exchanges of the Web. Twelve Blue instantiates intermediation by creating coherence not through linear sequences but by recursively cycling between associated images. Intermediation is further explored through Maria Mencia's digital art work and Judd Morrissey's The Jew's Daughter and its successor piece, The Error Engine, by Morrissey, Lori Talley, and Lutz Hamel.

   (Source: Project MUSE abstract)

   Eric Dean Rasmussen - 11.03.2011 - 10:27

4. Don't Believe the Hype: Rereading Michael Joyce's Afternoon and Twelve Blue

   Don't Believe the Hype: Rereading Michael Joyce's Afternoon and Twelve Blue

   Eric Dean Rasmussen - 11.03.2011 - 12:40

5. Stitch Bitch: the Patchwork Girl

   It has come to my attention that a young woman claiming to be the author of my being has been making appearances under the name of Shelley Jackson. It seems you have even invited her to speak tonight, under the misapprehension that she exists, that she is something besides a parasite, a sort of engorged and loathsome tick hanging off my side. May I say that I find this an extraordinary impertinence, and that if she would like to come forward, we shall soon see who is the author of whom.

   Well? Well?

   Very well.

   I expect there are some of you who still think I am Shelley Jackson, author of a hypertext about an imaginary monster, the patchwork girl Mary Shelley made after her first-born ran amok. No, I am the monster herself, and it is Shelley Jackson who is imaginary, or so it would appear, since she always vanishes when I turn up. You can call me Shelley Shelley if you like, daughter of Mary Shelley, author of the following, entitled: Stitch Bitch: or, Shelley Jackson, that imposter, I'm going to get her.

   Eric Dean Rasmussen - 14.03.2011 - 20:58

6. Hyperfiction: Novels for the Computer

   Coover's second significant New York Times' Books article reviewed contemporary hypertexts most substantially including Stuart Moulthrop's Victory Garden, as examples of works that have "printbound analogues" but suggested that new narrative forms were beginning to emerge.

   Scott Rettberg - 06.09.2011 - 13:38

7. Bookend; www.claptrap.com

   Bookend; www.claptrap.com

   Patricia Tomaszek - 29.04.2012 - 15:17

8. Hypertext Fiction Reading: Haptics and Immersion

   Reading is a multi-sensory activity, entailing perceptual, cognitive and motor interactions with whatever is being read. With digital technology, reading manifests itself as being extensively multi-sensory – both in more explicit and more complex ways than ever before. In different ways from traditional reading technologies such as the codex, digital technology illustrates how the act of reading is intimately connected with and intricately dependent on the fact that we are both body and mind – a fact carrying important implications for even such an apparently intellectual activity as reading, whether recreational, educational or occupational. This article addresses some important and hitherto neglected issues concerning digital reading, with special emphasis on the vital role of our bodies, and in particular our fingers and hands, for the immersive fiction reading experience.

   Jill Walker Rettberg - 13.12.2012 - 21:11

9. New narrative pleasures? A cognitive-phenomenological study of the experience of reading digital narrative fictions

   Thesis for the degree doctor artium. EXCERPT FROM INTRODUCTION: This dissertation aims to address – and answer – some of the questions surrounding the ways in which the interface of the digital computer (also known as the GUI) is impacting how we experience – read – GUI narrative fictions. In my view, questions such as these are of utmost importance if we are to appropriately understand how digital technology is affecting central realms of human existence, such as our experiences of the fictions that are created and displayed in an ever increasing variety of media materialities and technological platforms. The main research questions to be dealt with in the following revolve around processes typically taking place when we read, watch, listen, experience, interpret, are engaged in, and interact with, digital hypermedia narrative fictions – what I, for the sake of simplicity, call GUI fictions. In short, how do we read GUI fictions? How, and why, is this reading different from our reading of narrative fiction in print, or of reading narrative fictions on other screens, such as on TV or in a movie theater?

   Jill Walker Rettberg - 13.12.2012 - 21:28

10. Wandering Through the Labyrinth: Encountering Interactive Fiction

    Wandering Through the Labyrinth: Encountering Interactive Fiction

    Jill Walker Rettberg - 05.07.2013 - 14:54