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Pathfinders: Documenting the Experience of Early Digital Literature
Pathfinders was a project that lasted from 1986 to 1995 and went through a process of documenting hypertext fiction and poetry. To document the works they videotaped each artist and two additional readers interacting with a work on its original computer platform, also called traversal. Besides the traversal videos, it also includes videos of interviews with the artists and readers of the works included, photos of the artifacts, folio covers etc. Pathfinders has also during the process striven to provide information helpful to scholars, gathering information like publication dates, versions and production methods to clear up any disagreements about this information.
Dene Grigar - 21.06.2016 - 19:11
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Playing the Text, Performing the Future: Future Narratives in Print and Digiture
This volume examines the structure of text-based Future Narratives in the widest sense, including choose-your-own-adventure books, forking-path novels, combinatorial literature, hypertexts, interactive fiction, and alternate reality games. How 'radical' can printed Future Narratives really be, given the constraints of their media? When exactly do they not only play with the mere idea of multiple continuations, but actually stage genuine openness and potentiality? Process- rather than product-oriented, text-based Future Narratives are seen as performative and contingent systems, simulating their own emergence.
(Source: Publisher's abstract)
Scott Rettberg - 04.04.2017 - 12:32
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Sleepless in Seattle
First, IN.S.OMNIA operates from the premise that the domain of literature as such is no longer in synch with cultural experience in contemporary America. Rather than “look for ‘the next big thing’ in literature,” IN.S.OMNIA asks, “What if the next big thing already surrounds us, embedded in small gestures we perform every day? What if the next big thing is the realization that we have changed the way we use culture - remapping, rewiring, renetworking the same old pool of elements in new ways, adding to them furtive scribbles, seeking pleasures without naming them?
tye042 - 25.09.2017 - 15:45
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Cyberinthian Ways
Linda Brigham hypercontextualizes contemporary philosophy.
Although a hard-copy book and a hypertext essay hardly present us with apples and oranges, this particular pair troubles the work of comparison. This trouble is not simply a matter of form. Content-wise as well, Arkady Plotnitsky’s interdisciplinary exploration of poststructural metaphysics (or “meta-physics”) and David Kolb’s meditation on the textuality of philosophy relate to each other in a fashion at once too intimate and divergent. Like Blake’s Clod and Pebble from the Songs of Experience, they are contraries, or, to pick up the theme, “complementary.” As Blake would insist, though, it is through such contraries that progress happens.
tye042 - 26.09.2017 - 10:38
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Writing the Paradigm
An overview of Gregory Ulmer’s thought by Victor Vitanza.
1. How do we not know we think, yet think?
Gregory Ulmer (a.k.a. ‘Glue’) has been for some time developing a theory of invention that would be appropriate and productive for those cultural theorists who have an interest in electronic media. (Invention, classically defined in oral and print culture, is the art of recalling and discovering what it is that one would think or say about a given subject. In electronic culture, invention takes on new ramifications). In his Applied Grammatology (1985), Ulmer moves from Derridean deconstruction (a mode of analysis that concentrates on inventive reading) to grammatology (a mode of composition that concentrates on inventive writing); that is, he moves towards exploring “the nondiscursive levels - images and puns, or models and homophones - as an alternative mode of composition and thought applicable to academic work, or rather, play.
tye042 - 26.09.2017 - 13:01
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HYPER-LEX: A Technographical Dictionary
Paul Harris hybridizes the terms of hypertextual discourse and takes it to a higher power.
The spirit or at least pervasive desire of our age revolves around a sort of transparency: a desire to project ourselves as a surface of permeable traces, to exfoliate, let the inside become the outside, to become fully visible like the meat and bones of a Cronenberg character, while remaining invisible like the little hacker ghost (Turing’s Demon?) that tracks text in the Random Access Memory banks of the machine onto whose screen we splash words. In large part, the attractive force that transparency exerts is an effect of media culture; simultaneously, however, transparency marks a limit of im-mediacy - an unmediated, collapsed sensation where we can see the neurophysiology of our brains or the shapes of and linkages among our words. This is an immediacy of the sensory that never shades into the tactile - it is rather the immediacy of sensing the medium itself, of clicking tracks around the computer screen or dredging up hidden treasures on the Netscape of our lives.
tye042 - 05.10.2017 - 13:57
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technocapitalism
Technocapitalism began as a set of essays collected in 2002 to be the first in a series of Alt-X Critical E-books.
Filip Falk - 13.10.2017 - 18:32
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A Gathering of Threads
The culmination of ebr version 2.0 (an html- and java-based Web production), the spring 1999 “gathering of threads” introduced an important component into the journal design: the thREAD that actively conducts readers among affiliated essays.
(Source: ebr)
Lisa Berwanger - 17.10.2017 - 15:45
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Graphic or Verbal: A Dilemma
J. Hillis Miller looks at the “multimedia” Victorian novel, embodied in ink, paper, cardboard, and glue.
(Source: ebr)
Lisa Berwanger - 17.10.2017 - 15:54
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Hypertext '97
John Cayley reviews the Hypertext ‘97 Conference, which brought together representatives from corporate and academic sectors.
Apologies: This is not a ‘balanced’ review of the Hypertext ‘97 conference, but only, as Ted Nelson would put it, one particular, packaged, ‘point of view’. I haven’t named all the names I should have or even many and I have not explicitly acknowledged the herculean efforts of the many organizers. Readers are referred to the full published conference proceedings, The Eighth ACM Conference on Hypertext, edited by Mark Bernstein, Leslie Carr, and Casper Osterbye (New York: ACM, 1997). My perspective is that of a practitioner of literary cybertext. This piece was written quickly as a draft towards a (probably shorter) review of the conference which is to be published in the UK-based periodical (presently a quarterly newspaper) of ‘digitalartcritique’ entitled Mute.
tye042 - 18.10.2017 - 14:45
