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The Reader as Author as Figure as Text
The paper takes a short look at the much discussed dismissal of the author in hypertext collaborative writing and discusses the role of authorship in three German collaborative writing projects. The results are: 1. Collaboration sometimes works like collaboration with the 'enemy.' The pleasure of some collaborative writing projects therefore comes not so much from the story itself as from what the text reveals about its authors. 2. The attraction of some collaborative writing project lies in the setting more than in the contributed texts. What fails as Netliterature may get a second chance as Netart. 3. If the program of a collaborative writing project automatically and randomly creates the links and develops the structure of the whole, it takes over the collaboration between authors and their texts. The conclusion is: As the text itself becomes more and more part of a technical setting, and as the program moves more and more into the center, the project of collaborative writing increasingly dismisses the reader. To a user who accidentally stops by and starts to read, the text itself doesn't say all that much.
Patricia Tomaszek - 14.09.2010 - 12:19
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The Jew's Daughter
The Jew's Daughter is an interactive, non-linear, multivalent narrative, a storyspace that is unstable but nonetheless remains organically intact, progressively weaving itself together by way of subtle transformations on a single virtual page.
(Source: Authors' description from ELC 1.)
Patricia Tomaszek - 17.09.2010 - 21:56
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To Touch
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Patricia Tomaszek - 17.09.2010 - 22:09
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flâneur - tag the world
Participatory locative literature project
Anders Løvlie - 21.09.2010 - 11:28
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Trope
Trope creatively intervenes in the ways that readers engage with literary texts by creating a virtual environment that is conducive to and assists the experience of reading the poetic text. The physicality of the text itself is key. Poems and short stories are repositioned rather than illustrated in spatialized, audio and visual format/s not possible in “real” life. In the trope landscape, Second Life users can negotiate their own paths through each creative environment and for example, fly into a snowdome, run through a maze in the sky, listen to a poem whispered by a phantom pair of dentures, or stumble upon a line of dominos snaking around the bay. Trope aims to expand writing networks and further develop the virtual literary community.
(Source: Auithor's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 09.12.2010 - 01:12
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The Company Therapist
An early web-based collaborative fiction writing project, where contributors played the role of employees at a large computer company who all see the same therapist. Ran from 1996-1999, and was billed as a collaborative hyperdrama. Produced by Christopher and Olga Werby, but many more authors contributed.
Jill Walker Rettberg - 05.01.2011 - 13:30
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Forward Anywhere
Originally written under the auspices of the Xerox PARC Artist in Residence Program, and published in 1996 by Eastgate Systems, Forward Anywhere is a hypertextual narrative written by new media poet Judy Malloy and then Xerox PARC hypertext researcher Cathy Marshall. Created when Malloy was an artist in residence at PARC, beginning in 1993, the collaborative narrative -- an exchange of the details of the lives of two women who work with hypertext -- unfolded via email over a year or so and then was somewhat fictionalizd and recontextualized into Forward Anywhere. "...each emerges from a particular history and sensibility, Malloy's from the postwar suburbs of Boston, Marshall's from California and the sixties. To pass from one of these moments to the other is to recognize the almost-repetition of emergent or autopoetic pattern, an experience that touches something very deep in the instinctual repertoire, perhaps demonstrating that software does speak to human identity after all," Stuart Moulthrop wrote in "Where to?", Convergence 3:3, Fall, 1997: 132-38.
Jill Walker Rettberg - 14.01.2011 - 12:04
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Hypertext Hotel
A collaborative writing space using MOO technology that was used for Coover's writing workshops at Brown University, and that was active through much of the 1990s.
Jill Walker Rettberg - 14.01.2011 - 12:27
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The Network as a Space and Medium for Collaborative Interdisciplinary Practice
This conference will focus on the increasing use of the network as a space and medium for collaborative interdisciplinary art practices including electronic literature and other network based art forms. Researchers will present papers exploring new network-based creative practices that involve the cooperation of small to large-scale groups of writers, artists, performers, and programmers to create online projects that defy simple generic definitions and disciplinary boundaries. Topics might include online collective narratives, durational performances, evolving networked publication models, creative commons and open source art, remixes, and mashups. The seminar will be organized by the LLE Digital Culture group and will invite contributions from about 20 international researchers and artists. In addition to the scholarly seminar Nov. 9th and 10th at the University of Bergen, two evening programs will take place Nov. 8th and 9th at Landmark Café at Bergen Kunsthall, to showcase innovative work and will be open to the public.
(Source: Conference website.)
Eric Dean Rasmussen - 17.01.2011 - 14:14
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My Words / Mes Mots
"Your gestures make my words meaningful".
My Words was an ongoing collaborative project which explored the relationship between gesture and meaning in interactive writing.
In this online creation, an interface gave access to several words, each word corresponding to a short interactive scene. In each scene, it was not so much the animation but rather the interaction with the reader, the reader’s gestures, that made the words meaningful. The reader could thus experiment with the meaning of the words, or at least the one given to the words by the authors.
This creation was also an invitation to participate. Through a dedicated tutorial and interface, everyone is able to contribute by adding new scenes. The world of My Words is an expanding world. My Words are everyone’s words.
(Adapted from: Author's Statement)
Eric Dean Rasmussen - 21.01.2011 - 12:28
