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Cybertext: Perspectives on Ergodic Literature
Cybertext explores the aesthetics and the textual dynamics of digital literature and its many diverse genres such as hypertext fiction, computer games, computer generated poetry and prose, and collaborative Internet texts such as MUDs. However, instead of insisting on the uniqueness and newness of "electronic writing" or "interactive fiction" (phrases which mean very little) the author situates these new literary forms within the larger and much older field of "ergodic" literature, from the ancient Chinese I Ching to the literary experiments of the OuLiPo. These are open, dynamic texts where the reader must perform specific actions to generate a literary sequence, which may vary for every reading. Aarseth constructs a theoretical model that describes how these literary forms are different from each other, and demonstrates how the widely assumed divide between paper texts and electronic texts breaks down under careful analysis.
Patricia Tomaszek - 21.09.2010 - 10:59
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Digital Media
The chapter takes readers through a semester of teaching narrative-based electronic literature works, including interactive fiction, storyspace hypertexts, web hypertexts, email fiction and interactive web-based narratives.
Scott Rettberg - 13.01.2011 - 15:24
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Patterns of Hypertext
The apparent unruliness of contemporary hypertexts arises, in part, from our lack of a vocabulary to describe hypertext structures. From observation of a variety of actual hypertexts, we identify a variety of common structural patterns that may prove useful for description, analysis, and perhaps for design of complex hypertexts. These patterns include: Cycle Counterpoint Mirrorworld Tangle Sieve Montage Split/Join Missing Link Feint
Jill Walker Rettberg - 14.01.2011 - 11:59
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The End of Books
Coover's "The End of Books" essay in the New York Times significantly introduced hypertext fiction to a wider literary audience. The essay describes that ways that hypertext poses challenges for writers and readers accustomed to coventional narrative forms, including assumptions about linearity, closure, and the division of agency between the writer and reader.
Jill Walker Rettberg - 14.01.2011 - 12:33
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Piecing Together and Tearing Apart: Finding the Story in afternoon
This paper is a reading of a classic of hypertext narrative: Michael Joyce’s afternoon, a story. Several writers have discussed afternoon previously. However I have chosen to explore afternoon from a different angle by using theories of narratology, especially Genette. In this reading, I explore ways in which the text confuses the reader but also the many stabilising elements that aid the reader to piece together a story.
NB: Published under author's unmarried name, Jill Walker.
Jill Walker Rettberg - 14.01.2011 - 12:40
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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
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New Media Literary: Hypertextual, Cybertextual, and Networked
The presentation deals with the problem of new media literacy, as compound of digital and network paradigm – whose differences with Web 2.0 are rapidly disappearing. However, the differentiation between digital and network is necessary in order to translate textual typology into cultural analysis – the hidden mission of new media theory from the very beginning.
First generation of hypertextual theoreticians detected hypertextuality as the basis of new media literacy – nonlinearity, interactivity and openness of the text were seen as democratisation of literacy. The presentation will try to demonstrate that hypertextuality is only a component of the digital paradigm, which is marked by broader flexibility of the text as productive apparatus. (That productivity of digital deconstructionist and poststructuralist theory connected with interpretation, but productivity is conducted, as Espen Aarseth pointed out, at the level of mechanical production.)
Eric Dean Rasmussen - 27.01.2011 - 16:28
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Interview with Michael Joyce
Archivist Gabriela Redwine interviewed author Michael Joyce during his visit to the Ransom Center in April 2009. Excerpts from the interview are available as audio files and transcripts. Joyce talks about the reader community around early hypertexts, before they were even published and were just being passed from person to person on floppy disks, about connections between his work and Modernist authors (Stein, Joyce), about lowercase letters not being an obvious requirement to early computer programmers, about e-lit authors having to be their own critics and about the sensation of writing the first line of afternoon and knowing that this was different from conventional literature.
Jill Walker Rettberg - 14.02.2011 - 11:43
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Reading Network Fiction
David Ciccoricco establishes the category of "network fiction" as distinguishable from other forms of hypertext and cybertext: network fictions are narrative texts in digitally networked environments that make use of hypertext technology in order to create emergent and recombinant narratives. Though they both pre-date and post-date the World Wide Web, they share with it an aesthetic drive that exploits the networking potential of digital composition and foregrounds notions of narrative recurrence and return.Eric Dean Rasmussen - 18.02.2011 - 20:31
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Electronic Literature: New Horizons for the Literary
Hayles’s book is designed to help electronic literature move into the classroom. Her systematic survey of the field addresses its major genres, the challenges it poses to traditional literary theory, and the complex and compelling issues at stake. She develops a theoretical framework for understanding how electronic literature both draws on the print tradition and requires new reading and interpretive strategies. Grounding her approach in the evolutionary dynamic between humans and technology, Hayles argues that neither the body nor the machine should be given absolute theoretical priority. Rather, she focuses on the interconnections between embodied writers and users and the intelligent machines that perform electronic texts.
Eric Dean Rasmussen - 18.02.2011 - 20:58
