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All Together Now: Hypertext, Collective Narrative, and Online Collective Knowledge Communities
Revision of essay previously titled "All Together Now: Collective Knowledge, Collective. Narratives, and Architectures of Participation."
This essay explores the history and methodologies of collective narrative projects, and their relationship to collective knowledge projects and methodologies. By examining different forms of conscious, contributory, and unwitting participation, the essay develops a richer understanding of successful large-scale collaborative projects. The essay then examines large-scale architectures of participation in Wikipedia and Flickr to extrapolate from those observations potential methodologies for the creation of collective narratives.
Scott Rettberg - 14.10.2011 - 13:01
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Is There a Text on This Screen? Reading in an Era of Hypertextuality
Is There a Text on This Screen? Reading in an Era of Hypertextuality
Eric Dean Rasmussen - 07.02.2012 - 11:56
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Ontological Boundaries and Methodological Leaps: The Importance of Possible Worlds Theory for Hypertext Fiction (and Beyond)
This essay sets out an ontologically centered approach to Storyspace hypertext fiction by applying Ryan’s (1991) model of Possible Worlds Theory to two canonical texts [...] Shelley Jackson’s Patchwork Girl (1995) and Stuart Moulthrop’s Victory Garden (1991). The analyses show how the Possible Worlds Theory method allows the study of hypertext fiction to move away from the chronological focus of traditional narrative theory to address the ontological mechanics of hypertext narratives. The chapter closes by suggesting ways in which Possible Worlds Theory might also be used as an analytical tool for other forms of digital literature.
(Source: author's abstract.)
Eric Dean Rasmussen - 08.04.2012 - 09:17
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Hypertexte et fiction: la question du lien
La première caractéristique de l'entreprise de numérisation à l'oeuvre dans les arts et les lettres est la dématérialisation de leurs supports spécifiques. Dans le cas de la littérature, cette dématérialisation conduit à une rupture avec notre culture du livre qui va au-delà d'un simple changement de support. Nos modes de pensée et nos formes de mise en discours sont, en effet, si intimement liées au livre que son effacement programmé dans l'univers du numérique produit un ébranlement qui n'est pas seulement technologique mais aussi intellectuel et épistémologique. Pour le dire brièvement, le livre, de par sa nature propre, est fondé d'abord sur la succession des pages et secondairement sur une organisation hiérarchisée de sa matière rendue possible par la mise en place progressive d'outils destinés à en faciliter la consultation tels que la division en chapitres ou la table des matières. Ces deux caractéristiques essentielles que sont la linéarité des pages et la hiérarchisation des contenus ont contribué à modeler durablement notre habitus discursif et rhétorique. Avec l'hypertexte, elles sont toutes les deux remises en question.
Scott Rettberg - 28.06.2013 - 20:20
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No War Machine
No War Machine
Scott Rettberg - 29.06.2013 - 20:04
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Collaborative Narrative
Brief entry on collaborative narrative situating collaboration in hypertext and online writing contexts.
Collaboratively written narratives are not specific to new media: a number of works within the Western cultural and literary canon, for example the epics of Homer, the Judeo-Christian Bible, and Beowulf, are believed to have been developed through collaborative storytelling and writing processes. It can however be said that collaborative writing practices are more prevalent in contemporary digital media than in print.
Electronic literature authors most often write within software platforms that are themselves “authored”—every time someone opens up Photoshop, or Flash, they are reminded of the long list of developers who actually wrote the software. So even making use of a particular application is a type of collaboration. There is a greater degree of transparency to the collective efforts involved in digital media production than to traditional literary production.
(Source: Author's introduction)
Scott Rettberg - 01.11.2013 - 11:53
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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
