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A Subjective Chronology of Cybertext, Hypertext, and Electronic Writing
A timeline of events and publications relating to creative work in hypertext and new media, admittedly subjective, but providing a view of the field as seen by one of the pioneers in the field of electronic literature.
Jill Walker Rettberg - 04.04.2011 - 20:27
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Composition No. 1
"The reader is requested to shuffle these pages like a deck of cards; to cut, if he likes, with his left hand, as at a fortuneteller’s. The order the pages then assume will orient X’s fate.
For the time and order of events control a man’s life more than the nature of such events. Certainly there is a framework which history imposes: the presence of a man in the resistance, his transfer to the Army of Occupation in Germany, relate to a specific period. Similarly, the events that marked his childhood cannot be presented in the same way as those which he experienced as an adult.
Nor is it a matter of indifference to know if he met his mistress Dagmar before or after his marriage; if he took advantage of Helga at the time of her adolescence or her maturity; if the theft he has committed occurred under cover of the resistance or in less troubles times; if the automobile accident in which he has been hurt is unrelated to the theft — or the rape — or if it occurred during his getaway.
Whether the story ends well or badly depends on the concatenation of circumstances. A life if composed of many elements. But the number of possible compositions is infinite."
Jill Walker Rettberg - 27.07.2011 - 23:20
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Digital Poetry: From Cybertext to Programmed Forms
Digital Poetry: From Cybertext to Programmed Forms
Zuzana Husarova - 01.09.2011 - 16:59
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VE3 Composition No. 1
VE3 is a re-imagining of a book originally published in the 1960s. The book is the first ever “book in a box”, called Composition No. 1 by Marc Saporta. When we say book in a box we mean: quite literally a book that comes in a box with loose pages. Each page has a self-contained narrative, leaving it to the reader to decide the order they read the book, and how much or how little of the book they want to read before they begin again. In so many ways, Composition No.1 was published ahead of its time: the book raises all the questions we ask ourselves today about user-centric, non-linear screen driven ways of reading.
With this in mind, we approached Tom Uglow of Creative Labs Google and Youtube to write an introduction for the book. This re-imagined edition also includes several of Salvador Plascencia’s (author of The People of Paper) drawings, looking at all the different components that make up a “typical” book. The book is designed by Universal Everything, UK-based design studio known for their interactive screen-based work.
(Source: Publisher's description)
Scott Rettberg - 07.09.2011 - 11:19
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Composition No. 1
Composition No. 1 is a re-imagining of the little known classic by French writer, Marc Saporta. Saporta writes about the interconnected stories of a group of Parisians, centred around the Sorbonne. Quite literally, Composition No. 1 is made up entirely of stand alone pages. Each has its own self-contained narrative, leaving it to you to shuffle through and decide which order to read the book, and how much or little you want to read before you begin again.
Key features:
> Randomly shuffled pages, allowing you to play and read however much or little you want.
> Randomized, interactive cover; slide letters around like fridge magnets.
> Explore a typographic artwork, using the book's entire text.(Source: iTunes App store)
Scott Rettberg - 07.09.2011 - 11:52
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Mar de Sophia
Mar de Sophia é um conjunto de poemas virtuais apresentados em formato hipermédia, nos quais o texto animado na tela é gerado automaticamente a partir do léxico da poeta Sophia de Mello Breyner Andersen, previamente estudado em termos de frequência. Esse léxico-base, que (re)constitui a obra de Sophia, e a classifica e mapeia na rede, está indexado em listas codificadas em linguagem XML, acessíveis ao leitor de vários modos, o qual as pode alterar ou adicionar novos vocábulos ou unidades de sentido. A animação do texto está ainda inscrita na componente sonora das variações combinatórias que deste processo resultam. Sempre que uma palavra se altera, o poema activa uma busca em bases de dados de som, com leituras do texto-base de que se aproveitou a sintaxe e a estrutura formal. Desse modo, o leitor pode recriar, no eixo combinatório da linguagem, um poema de Sophia, adaptando-o ao seu gosto, bem como enviar algumas das suas realizações, tanto sonoras quanto verbais, para um servidor PHP instalado num servidor da Internet. Aí, ficam arquivadas as várias versões de todos os leitores que participam na (re)leitura do poema.
Rui Torres - 25.11.2011 - 22:03
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Philosophical Labyrinths in Cybertexts
Not only since Postmodernism have spatial dichotomies such as absence and presence, inside and outside played a major role in defining the human condition and the physical positioning of the subject within the world. With the emergence of phenomena like HTML and the World Wide Web authors and artists have found new tools to explore and express new ideas of the human condition in the late 20th and early 21st centuries. Hypertexts or, with Espen J. Aarseth, “cybertexts”, offer new ‘roads’ which need not be taken, hiding places or Dantesque places of beauty. The one is only a step away from the other; in which space the user finds himself depends on the ‘literary machine’ with its narrative strategies. Often compared to labyrinths, these virtual spaces recall an almost archetypal quality of the conditio humana: The choice of exploring life, and of finding enlightenment and defeating the mythical minotaur; yet with one significant difference, as it appears one cannot escape from the labyrinth. Heidegger’s “Dasein” as much as Derrida’s “différance” are key to understanding what this means. At the example of three texts, Michael Joyce’s afternoon, a story, Mark Z.
Jill Walker Rettberg - 18.06.2012 - 10:53
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Cybertext Poetics: The Critical Landscape of New Media Literary Theory, A Review
Cybertext Poetics: The Critical Landscape of New Media Literary Theory, A Review
Patricia Tomaszek - 09.09.2012 - 22:21
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V sieti strednej Európy: nielen o elektronickej literatúre: /In Central European Network: not only about electronic literature:/
This international collective monograph brings an understanding of the problematic of changes in artistic communication in the context of the cultural practices of the post-digital era and simultaneously asks new questions about it. This book presents the keystones of electronic literature research that are based, among others, on the digital character of the text, on multisensory reading, playfulness, hypermediality, experimentation and Internet communication. Its aim is also to map digital literature in the cultural environment of Central Europe. Researchers from Slovakia, The Czech Republic, Poland, Slovenia and Croatia collaborated on the publication. The monograph is a printed textual tapestry of various approaches, theories and perspectives that communicate among themselves, react to each other and together clarify the structure that literature personifies in the new media realm.
Contributions by Zuzana Husárová, Jana Kuzmíková, Gabriela Magová, Mira Nabělková, Andrzej Pająk, Katarina Peović Vuković, Mariusz Pisarski, Michal Rehúš a Jaroslav Šrank, Janez Strehovec, Bogumiła Suwara, Jaroslav Švelch
Source: publisher's information
Zuzana Husarova - 21.09.2012 - 20:42
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Mapping out Spaces for E-Lit Criticism
This paper explores the process of discovering works of elit by focusing on the role of the online literary journal. The heyday of Web 1.0, the late 1990s, gave birth to the first generation of electronic literature. To support this emergent art form, this period also delivered a multitude of online literary journals that showcased hypertexts, kinetic poetry, animations, and interactive fiction as well as scholarly articles, interviews with authors, book reviews, and critical discourse. But as the Web became a more graphic-friendly navigation space and debates about cybertext vs. hypertext took centerstage in critical forums, celebration of electronic literature in web-zines and journals seemed to dry up. In the first few years of the twenty-first century, most of the literary journals that had flourished in the late '90s had ceased operations. What are the spaces for electronic literature and its discovery in the 21st century? How do these spaces or lack of them map and remap the field of electronic literature and its criticism?
Scott Rettberg - 09.01.2013 - 11:56
