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These Waves of Memories: A Hyperfiction by Caitlin Fisher
The web-based ‘hypermedia novella’ These Waves of Girls by Caitlin Fisher won the first prize in the fiction category awarded by the Electronic Literature Organization in 2001. In this article I’ll take a closer look on some of the aspects of this work, a confessional autobiography about a girl coming to terms with her lesbian identity. The article is structured around a set of relations: the relation between the critic and the work; textual and audio-visual representation; personal and social relations; hypertextual structure and autobiographical, unreliable narration. These Waves is a class-room example of the so-called associative hypertext. The hypertextual structure is also closely linked to the problematics of autobiographical narration.. As readers we get to ponder about the nature of remembering, of telling stories about one’s life. One of the genuine accomplishments of Fisher’s work is to bring forth these questions in a tangible, and still discreet, way.
(Source: author's abstract).
Eric Dean Rasmussen - 20.03.2011 - 09:58
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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
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From Text to Hypertext: Decentering the Subject in Fiction, Film, the Visual Arts, and Electronic Media
It is a tenet of postmodern writing that the subject—the self—is unstable, fragmented, and decentered. One useful way to examine this principle is to look at how the subject has been treated in various media in the premodern, modern, and postmodern eras. Silvio Gaggi pursues this strategy in From Text to Hypertext, analyzing the issue of subject construction and deconstruction in selected examples of visual art, literature, film, and electronic media. Gaggi concentrates on a few paradigmatic works in each chapter; he contrasts van Eyck's Wedding of Arnolfini with the photography of Cindy Sherman and Barbara Kruger; examines fiction that centers on an elusive subject in works by Conrad, Faulkner, and Calvino; and explores the ability of such films as Coppola's One from the Heart and Altman's The Player to emancipate the subject through cinematography and editing.
Scott Rettberg - 13.12.2012 - 22:20
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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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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
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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
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Hyperfiction Moulthrop’s Computer Novel Weaves a Web of Alternative Endings
Hyperfiction Moulthrop’s Computer Novel Weaves a Web of Alternative Endings
Alvaro Seica - 10.03.2016 - 15:19
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Coherence in text and hypertext
From the author:
The concept of text coherence was developed for linear text, i.e. text of sequentially organized content. The present article addresses to what extent this concept can be applied to hypertext. Following the introduction (section 1), I will define different aspects of text coherence (section 2). I will then explain the importance of the sequential order of text constituents for coherence-building, as explored by empirical studies on text comprehension (section 3). Section 4 discusses how hypertext-specific forms of reading affect the processes of coherence-building and coherence-design. Section 5 explores how the new challenges of hypertext comprehension may be met by hypertext-specific coherence cues. A summary and outlook is included (section 6).
Mathias Vetti Olaussen - 29.09.2021 - 11:36
