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1. Web/Fiction/Design: A brief beta-test of this year’s winner of the ELO Awards, Caitlin Fisher’s These Waves of Girls

   A (literature) award usually comes with publicity as well as responsibility. As this year's ambassador of digital literature, the US-American Electronic Literature Organization chose a webfiction that does not meet the technological standards of current internet or CD-ROM productions. Neither the rather outdated technique of frames, nor Flash (a program for moving images), nor the embedding of sounds have been implemented in a way that is technologically useful (there's nor debating aesthetics) or ar least more or less correct. About 15 years after the "invention" of digital literature (this date, too, is open for discussion), the technology available has become so sophisticated that a single author obviously can no longer live up to the demands as a lonely creative genius. The quality even of praised digital literature seems to indicate that, caused by the raising of technical standards, the future lies in what collaborative writing in hypertext or online "Mitschreibeprojekte" did not mange to establish: the dismissal of authorship in the traditional sense of authoritiy over the text in favor of a plural, diverse team-work.

   (Source: article abstract)

   Jill Walker Rettberg - 01.11.2011 - 14:24

2. Writing as a Woman: Annie Abrahams' e-writing

   Is there such a thing as womens' writing? Or, for that matter, womens' media? Elisabeth Joyce moves through the work of Annie Abrahams and writes against restrictive domestications of electronic media.

   (Source: journal abstract)

   Eric Dean Rasmussen - 08.11.2011 - 10:28

3. Close Reading in the Realm of Static and Dynamic Texts

   Review and discussion of Reading Digital Literature at Brown University, organized by Roberto Simanowski (Brown University and Dichtung Digital) October 4-7, 2007.

   Patricia Tomaszek - 11.11.2011 - 15:28

4. Hypertext Criticism: introduction to a special issue

   Hypertext Criticism: introduction to a special issue

   Jill Walker Rettberg - 16.11.2011 - 11:58

5. Wreader's Digest - How To Appreciate Hyperfiction

   Compared to its age - or youth - hyperfiction is a rather well-theorized genre. Hyperfiction-criticism either praises its subject as evolved print-text and better realization of contemporary literary theory - or deplore its - allegedly - low literary quality. What is missing, however, are in-depth readings of digital fiction that deemphasize theory and try to appreciate this new genre for what it has to offer.

   In this "paper", I will read two hyperfictions that are not among the two or three canonized texts that are relatively well-known and often-quoted. Both John McDaid's Uncle Buddy's Phantom Funhouse and Sarah Smith's King of Space deal with central issues of hypertext-theory - in content as well as formally. They are about agency and sense-making, ironically deconstructing mainstream theory's claims that digital, hyperlinked texts activate readers into a de-facto author-position. They are also representations of contemporary life that may be difficult to read at first but also make strangely adequate and enjoyable texts for today's readers. (Source: abstract in journal)

   Jill Walker Rettberg - 16.11.2011 - 12:01

6. Hypertext Syntagmas: Cinematic Narration with Links

   Christian Metz's semiotic analysis of cinema is described in relation to hypertext narrative. Connections between film narrative syntagmas and hypertextual syntagmas are explored, with an emphasis on the contextual and pragmatic nature of these structures. (Source: abstract in journal)

   Jill Walker Rettberg - 16.11.2011 - 12:04

7. Hypernews and Coherence

   This essay seeks to illuminate certain fundamental aspects of textual and cognitive coherence in the production and reading of hypertexts in general and hypernews in particular. A division into intranodal, internodal and hyperstructural coherence helps to clarify concepts and also seems to reflect certain distinctive features of hypertext as a concept representing a linguistic level above the text level. Likewise, van Dijk's conceptual distinction between macro- and superstructures proves to be useful for demonstrating how axial and networked hyperstructures respectively may maintain, strengthen or weaken various forms of textual coherence. (Source: journal abstract)

   Jill Walker Rettberg - 16.11.2011 - 12:07

8. Número especial sobre Crítica Hipertextual Journal of Digital Information: Editorial

   Número especial sobre Crítica Hipertextual Journal of Digital Information: Editorial

   Jill Walker Rettberg - 16.11.2011 - 12:13

9. Hypertext Criticism: Writing about Hypertext

   Introduction to a special issue on Hypertext Criticism.

   Jill Walker Rettberg - 16.11.2011 - 12:18

10. Inappropriate Format][ing][: Craft-Orientation vs. Networked Content[s]

    Inappropriate Format][ing][: Craft-Orientation vs. Networked Content[s]

    Jill Walker Rettberg - 16.11.2011 - 12:24

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