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Voyage Into the Unknown
On May 25, 1869, you join the crew of one-armed Civil War veteran John Wesley Powell along with eight other fellow veterans, hunters and trappers, in an attempt to be the first to navigate the Colorado River through the vast unmapped maze of canyons in the heart of the Great American Desert. Playing the role of one of the crew members, you are well aware that no European-American has boated the formidable Colorado River -- not, at least, and written about it. Turning inward... this is, perhaps, the final American frontier, a terra incognita. This Flash-based interactive work is constructed using an innovative, sequentially loading horizontally scrolling format in which users travel across fiction and documentary artifact. You will travel across writing modes as well as spaces. Knowledge may lie in traveling among such modes. First comes the adventure, then comes its representation. Much later, comes critical examination, and, perhaps, as a whole, re-invention... The work uses the interactive format to bridge genres and modes of expression.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Eric Dean Rasmussen - 18.02.2011 - 21:42
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Reconstructing Mayakovsky
Inspired by the poet Vladimir Mayakovsky who killed himself in 1930 at the age of thirty-six, this hybrid media novel imagines a dystopia where uncertainty and discord have been eliminated through technology. The text employs storylines derived from lowbrow genre fiction: historical fiction, science fiction, the detective novel, and film. These kitsch narratives are then destabilized by combining idiosyncratic, lyrical poetic language with machine-driven forms of communication: hyperlinks, "cut-and-paste" appropriations, repetitions, and translations (OnewOrd language is English translated into French and back again using the Babelfish program.) In having to re-synthesize a coherent narrative, the reader is obliged to recognize herself as an accomplice in the creation of stories whether these be novels, histories, news accounts, or ideologies. The text is accessed through various mechanisms: a navigable soundscape of pod casts, an archive with real-time Google image search function, a manifesto, an animation and power point video, proposals for theatrical performances, and mechanism b which presents the novel in ten randomly chosen words with their frequencies.
Scott Rettberg - 15.04.2011 - 15:38
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Space for writing: a sidelong glance at the history of immersive spatial hypertext
The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.
(Source: Author's abstract for ELO_AI)
Audun Andreassen - 14.03.2013 - 14:42
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Remediating Stretchtext
Seventeen years have passed since Coover's inspiring call to defy the tyranny of the line through hypertext, "where the line in fact does not exist unless one invents and implants it in the text." The profound influence of that clarion shaped the development of electronic literature and attracted the scorn of critics — Sven Birkerts, Laura Miller, Michiko Kakutani – who villified hypertext in defense of the line. Overlooked in the controversy is the embarrassing fact that, even today, we know remarkably little about inventing, implanting, and cultivating the narrative line in its organic richness. We know sequence and rhizome well, but the contours of recursus, timeshift, and renewal remain, for most writers, an arcane craft.
How may we render a satisfactory account of complex events, fictitious or historical? We want hypertext narrative to do things we cannot achieve in print, and though we may occasionally use links or actemes to introduce variation in presentation or in story, it is now clear that hypertext will most frequently prove useful in changing (or adapting) plot.
Audun Andreassen - 14.03.2013 - 15:04
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The Monstrous Book and the Manufactured Body in the Late Age of Print: Material Strategies for Innovative Fiction in Shelley Jackson’s Patchwork Girl and Steve Tomasula’s Vas
In recent decades a growing number of innovative writers have begun exploring the possibility of creating new literary forms through the use of digital technology. Yet literary production and reception does not occur in a vacuum. Print culture is five hundred years in the making, and thus new literary forms must contend with readers’ expectations and habits shaped by print. Shelley Jackson’s hyptertextual novel Patchwork Girl and Steve Tomasula’s innovative print novel Vas: An Opera in Flatland both problematize the conventions of how book and reader interact. In both works an enfolding occurs wherein the notion of the body and the book are taken in counterpoint and become productively confused. Jackson’s book, alluding to Mary Shelley’s Frankenstein, is about a monster composed of various bodies while the book itself is also a monstrous text: a nonlinear patchwork of links across networks of words and images.
Audun Andreassen - 10.04.2013 - 13:12
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One or More Disfigurements in the Home
One or More Disfigurements in the Home is a hypertextual fiction involving the memory and disfigurement of a narrator within the home. The text comes from an excerpt of an original work of fiction. Because sections of text are chosen quasi-randomly, you will not experience the entire source text in one sitting.
(Source: Author's descripiton for ELO_AI)
Click and drag horizontally or vertically to scroll, and, after some time has passed, clickable grey links will appear. There is something similar to an ending; a full(ish) reading will take at least 10 minutes. If you see it moving itself, it is simply waiting for you to start interacting.
Scott Rettberg - 10.04.2013 - 23:39
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Big Swing
Big Swing is a semi-non-linear, online narrative that mixes text, photography, sound design, video and interactivity. The story is designed to be explored rather than read. Delivered in semi-non-linear modules, the piece attempts to introduce and resolve tension in the manner of a traditional narrative, while still providing the user some degree of choice and control.
Exploring the story: Click on the small squares and words to reveal story fragments. Yellow words connect to the next chapter.
Scott Rettberg - 11.04.2013 - 12:18
