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1. Authoring Software

   A resource for teachers and students of new media writing, who are exploring what authoring tools to use, for new media writers and poets, who are interested in how their colleagues approach their work, and for readers, who want to understand how new media writers and poets create their work, the Authoring Software project is an ongoing collection of statements about authoring tools and software. It also looks at the relationship between interface and content in new media writing and at how the innovative use of authoring tools and the creation of new authoring tools have expanded digital writing/hypertext writing/net narrative practice.

   Judy Malloy - 11.03.2011 - 18:05

2. Comparative Analysis of the Cyberfeminist Hyperfiction and New Media Art work: Francesca da Rimini’s Dollspace

   Comparative Analysis of the Cyberfeminist Hyperfiction and New Media Art work: Francesca da Rimini’s Dollspace

   Eric Dean Rasmussen - 30.08.2011 - 12:36

3. Reading (De)coherent Hypertexts: a Creative Performance Based on a Close Reading of the German Hyperfiction Zeit für die Bombe

   Reading (De)coherent Hypertexts: a Creative Performance Based on a Close Reading of the German Hyperfiction Zeit für die Bombe

   Eric Dean Rasmussen - 02.05.2012 - 12:04

4. Frankophone Hyperfiction

   Frankophone Hyperfiction

   Patricia Tomaszek - 12.07.2012 - 17:18

5. Literature as Echo: Mark Z. Danielewski's House of Leaves

   Este ensaio analisa em profundidade o romance House of Leaves (2000) de Mark Z. Danielewski. O romance, com marcas de textualidade digital, apresenta-se como um sistema englobante e multi-estratificado, ficcionalmente construído por diferentes autores e narrativas. Deste modo, estas narrativas formam uma obra total que revela e parodia diversos aspectos do romance gótico, assim como outros géneros e modos. Porém, a sua estrutura é formalmente urdida como uma narrativa hipertextual. Por estes motivos, seria inexacto classificar House of Leaves como sendo ou um ou outro objecto literário, pelo que proponho uma leitura “participativa” nestas categorizações.
   Por último, examino o conceito de eco, que é explorado por Danielewski no capítulo V, como uma dimensão essencial para compreender a progressão das personagens ao longo da narrativa. Esta perspectiva permite-me concluir que a literatura só atinge o seu potencial quando se manifesta como uma produção singular de eco, ou como uma ausência desconcertante de eco, no sentido de um desconforto e de um estranhamento (ostranenie) na consciência do leitor.

   Alvaro Seica - 18.03.2013 - 01:03

6. A Literatura Factorial [l!]

   By focusing on hyperfiction, this paper presents some proto-hyperfictions, dealing with literature's combinatorial processes (ars combinatoria), and with its composition based on permutations. This practice, which continues today, although using different techniques and effects, I call factorial literature [l!]. My aim is to introduce the concept of factorial literature as a transtemporal genre that has been intensified in the context of electronic literature. In the analysis of hyperfiction, I return to the definitions of hypertext by Theodor Holm Nelson (1965) and Gérard Genette (1982). Referring back to essays by Italo Calvino (1967) on literature, mathematics and cybernetics, and articles by Robert Coover (1992, 1993) about the new literary practices in digital environments, I prepare the coordinates for a revaluation of hyperfiction's recent history and its software, namely through the transient concept of constant restart, associated with the reader's new role as user.

   Patricia Tomaszek - 02.07.2013 - 17:01

7. Transdução: Processos de Transferência na Literatura e Arte Digitais

   Electronic Literature and Digital Art share many processes, themes, creative and theoretical guidelines. In this sense, I developed a critical framework that could resist to a hyperdisciplinary analysis and include one of the characteristics of this sharing pattern: the transfer and transformation processes. In order to recognize these processes I have done an approach of the transduction concept that could perform a theoretical migration on these aspects: the transducer function. Thus, the transducer function appears in the critical analysis of the works by Mark Z. Danielewski, Stuart Moulthrop, R. Luke DuBois and André Sier. The selected works are representative of the following genres: novel, hyperfiction, net.art and digital installation, drawing on phenomena and concerns resulting from the creative production within the digital culture. In this research I have enhanced mechanisms, patterns, languages and common grounds: authorship, user, cybertext, surface, hypertext, infoduct, interactivity, pixel, algorithm, code, programming, network, software and data. (Source: Author's abstract)

   Alvaro Seica - 15.08.2013 - 15:59

8. Lineages of German-language Electronic Literature: the Döhl Line

   There are numerous essays and reviews on German-language electronic literature, which run from the mid nineties to the present day. Most of these texts, however, are written in German – a language that is no longer accepted and common as an universal language for science.

   In order to present the overview of German language electronic literature, we filtered out some historical lines that may explain better how the development of individual genres came about. A good starting point may be the very first experiments of authors with computers to generate electronic poetry, a subject the international community mostly agrees upon.

   The following model of historical lines of development is suggested:

   Scott Rettberg - 27.10.2013 - 16:48