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1. Magic-Tree

   magic-tree is an interactive online narrative first published on the web in 2001, commissioned by Paul Bonaventura of the Laboratory at the Ruskin School, Oxford.

   The website uses animation, video, audio and printed text and was designed for the fastest internet connection of the time - 56K. At launch, a limited edition of boxes containing physical components of the story we offered free. The boxes were perfumed and contained a crystal ‘magic-tree’ kit, several mint/chocolate twigs, a bag of soil and some cherry pips.

   In its story, as well as its form, magic-tree addresses questions about how we interact with web fiction.

   The site only works with Internet Explorer and requires Quicktime. It takes a few hours to complete the four chapters.

   Jill Walker Rettberg - 29.06.2013 - 23:54

2. The Babysitter

   “The Babysitter,” published in Pricksongs and Descants (1969), is a classic of postmodern fiction. The story consists of over one hundred fragments – paragraphs set off from each other by space breaks, that take us through multiple and divergent sequences of what might have or what could have occurred during the course of one evening between a babysitter, a baby, her boyfriend, and the mother and father of the house. Although chronological progression takes place in the story, as we move from 7:40 pm into the late hours of the night, the distinction between objective reality and fantasy falls away as we read the fragments, and every possibility has equal opportunity to be visited. “The Babysitter” is one of the best examples in print of the idea of multilinearity that digital hypertext seemed poised to exploit, a story that is not one progression of events, but many possible progressions of events branching from the same tree.

   (Source: Electronic Literature by Scott Rettberg)
    

   Scott Rettberg - 17.08.2013 - 16:47

3. A Literatura Cibernética 2

   In A Literatura Cibernética 2: Um Sintetizador de Narrativas [Cybernetic Literature 2: A Narrative Synthesizer] (1980), Pedro Barbosa advocates the same analytical perspective of literary machines, which he had begun in the first volume. Influenced by Max Bense and Abraham Moles, the author develops the idea of “artificial text,” which would be later challenged by E. M. de Melo e Castro (1987), in the sense that Castro’s transmedia stance considers that all texts, produced over time with the aid of various technological tools, are always artificial. (Source: Author's Introduction)

   Alvaro Seica - 08.04.2015 - 20:11