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The American Hypertext Novel, and Whatever Became of It?
The chapter provides a brief history of experiments in the hypertext novel in America during the 1990s. The 1990 Eastgate publication of Michael Joyce’s Afternoon, A Story earned hypertext fiction a place within institutionalised literary culture. Robert Coover’s 1992 essay "The End of Books" announced hypertext fiction as a challenge to traditional conceptions such as narrative linearity, the sense of closure, and the “desire for coherence.” While some theorists, such as George Landow, praised hypertext for instantiating poststructuralist theory, others such as Sven Birkerts, in The Gutenberg Elegies, regarded it with strong concern. The publication of more hypertext fictions such as Stuart Moulthrop’s Victory Garden (1991) and Shelley Jackson’s Patchwork Girl (1995) resulted in a small, dedicated interest community. However, no paradigm-shifting rise in interest took place.
Scott Rettberg - 26.04.2015 - 16:27
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Posthyperfiction: Practices in Digital Textuality
By the turn of the millennium hypertext fiction was no longer the predominant form of digital writing produced by authors of electronic literature. In recent years, electronic poetry is more often produced than hypertext fiction, and rich multimedia largely predominates over text. Yet some notable exceptions, such as Judd Morrissey’s database narrative The Last Performance (2007), and Paul La Farge’s Luminous Airplanes (2011) are continuing to push the hypertext novel in some new directions. If hypertext per se is no longer predominant, many aspects of hypertext fiction, such as trigger actions that extend narrative texts and texts that integrate elements of spatial navigation, are increasingly integrated into newer forms such as locative narrative and virtual reality narratives.
Scott Rettberg - 27.04.2015 - 09:51
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Becoming Digital
A circular interview on "Becoming Digital" conducted by J. R. Carpenter, with responses from Brian Stefans, Stuart Moulthrop, Darren Wershler, David Jhave Johnston, Lori Emerson, Nick Montfort, and Stephanie Strickland in an anthology on experimental poetics edited by Amy De'Ath and Fred Wah, out now from Banff Centre Press.
J. R. Carpenter - 10.05.2015 - 11:55
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Networks of Creativity: Electronic Literature Communities
This introduction to Electronic Literature Communities gives an overview of the ELMCIP project, listing numerous academic publications and events affiliated with this project.
Hannah Ackermans - 26.08.2015 - 15:27
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Amateurs online: Creativity in a Community
Amateurs online: Creativity in a Community
Hannah Ackermans - 26.08.2015 - 16:56
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The Digital Diasthima: Time-Lapse Reading Digital Poetry
In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following upon methods taken from other areas, e.g. time-lapse photography and R.
Alvaro Seica - 03.09.2015 - 22:02
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Intermediality in Steve Tomasula's TOC: A New-Media Novel: A Semiological Analysis
Intermediality in Steve Tomasula's TOC: A New-Media Novel: A Semiological Analysis
Steve Tomasula - 10.01.2016 - 21:57
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Video Games as Unnatural Narratives
Video Games as Unnatural Narratives
Astrid Ensslin - 06.06.2018 - 20:16
