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1. Zeit für die Bombe

   "Zeit für die Bombe" ist eine multilineare Erzählung, die ich 1997 fürs World Wide Web schrieb. Schon damals träumte ich davon, sie einmal in einem digitalen Buch zu lesen. Als die Erzählung beim Internet-Literaturpreis "Pegasus" der Wochenzeitschrift "DIE ZEIT" den 1. Preis gewann, rieten mir viele Leute dazu, die Quatschidee mit dem digitalen Buch schnell wieder aufzugeben und stattdessen ein vernünftiges, also gedrucktes Buch zu schreiben. Grund: Der Hypertext sei tot, und das schon länger. Ob ich denn das noch nicht bemerkt hätte? Womöglich aus purer Sturheit schrieb und programmierte ich trotzdem weiter Hypertexte ( "Hilfe!" und "Die Schwimmmeisterin"), bis das Nachrichtenmagazin "Der Spiegel" mir 2002 den zweifelhaften Ehrentitel "Veteranin der schwindsüchtigen Szene" verlieh. Immerhin erkannte ich, dass das Magazin damit so falsch nicht lag. Denn multilineare Erzählungen im Internet zu veröffentlichen, hatte unübersehbare Nachteile. Der größte davon war, dass die Leser diese gar nicht lasen, sondern vor allem darin herumklickten, und zwar so schnell, dass sie gar nichts lesen konnten.

   Eric Dean Rasmussen - 07.02.2011 - 13:50

2. 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

3. 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

4. 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

5. The Princess Murderer

   "'The Princess Murderer,' a Flash fiction, was originally published in the Iowa Web Review in 2003 and deals with a number of formal and thematic issues that are of interest to scholars of digital fiction. Due to its satirical approach to intertextuality, it may be referenced as both a hypertext in the Genettian sense of being based on an earlier hypo-text (Charles Perrault's 'La Barbe bleue,' or 'Bluebeard') and a piece of fan fiction. Its distinctly ludic character is thematized and problematized by references to the fatal repercussions of clicking (clicking equals killing princesses) and by the tongue-in-cheek subversion of stereotypical melodramatic game endings (having to save the princess, but what if there are too many of them all of a sudden?). Of further analytical interest are, for instance, the text's focus on gender/pornography and technology, on Gothic fiction and media, and its multimodality (you need sound to read it)."

    

   Source: Electronic Literature Directory

   Scott Rettberg - 16.06.2012 - 00:45

6. Frankophone Hyperfiction

   Frankophone Hyperfiction

   Patricia Tomaszek - 12.07.2012 - 17:18

7. 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

8. Holier Than Thou: An Exploratory Hypertext Fiction

   Holier Than Thou: An Exploratory Hypertext Fiction

   Jill Walker Rettberg - 28.06.2013 - 23:34

9. Samantha in the Winter

   Samantha in the Winter

   Jill Walker Rettberg - 28.06.2013 - 23:57

10. 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

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