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Mark Bernstein's "Those Trojan Girls": Classical Storyspace Channels a Classic Story
Bernstein's revisioning of Storyspace in its 3rd version functions as a bridge between the previous hypertexts that Eastgate Systems, Inc. published and experimental interactive works readers encounter today on storytelling platforms like Twine or as apps on their phones. The result is that Those Trojan Girls remains constant in his approach to publishing “serious hypertext” embraced in the 1990s while at the same time contemporizes its aesthetic and functionality for readers today.
Dene Grigar - 30.08.2020 - 23:45
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Digital Storytelling in Spanish: Narrative Techniques and Approaches
This thesis looks at a sample of twelve stories of electronic literature written in Spanish and focuses on the different narrative techniques that these works implement. The techniques range from simple hyperlinks to highly complex functions as in videogames. These works draw from the traditions of print literature as well as from the digital culture that has shaped this era: hypertext, algorithms, text reordering, text fragmentation, multimedia creations, and almost anything else the computer is capable of. As each work discussed here is unique, a different theoretical approach is used for each.
Steffen Egeland - 17.09.2020 - 11:54
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Digitizing the Novel, 1987-2010
The novel is digital, it was digital, and it will be digital. Most authors have written on word processors and most publishers have made books with some form of desktop publishing software since the early 1990s. The first novels for digital display were written and published in the late 1980s. From a literary perspective, the question is whether such digital-born literature translates into palpable changes in the novel form, why, and how.
Mads Bratten Myking - 19.09.2020 - 15:10
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Understanding Interactive Fictions as a Continuum: Reciprocity in Experimental Writing, Hypertext Fiction, and Video Games
This thesis examines key examples of materially experimental writing (B.S. Johnson's The Unfortunates, Marc Saporta's Composition No. 1, and Julio Cortázar's Hopscotch), hypertext fiction (Geoff Ryman's 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these 'interactive' texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly 'infinite' text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing.
Martin Sunde Eliassen - 22.09.2020 - 19:31
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We Descend: Archives Pertaining to Egderus Scriptor, Volume Three
Work on We Descend began in 1984, when five words came unbidden into my mind: “If this document is authentic…” I had no idea what the phrase signified: Who’s saying this? What document? Why wouldn’t it be authentic? How would it be authenticated? By what authority? How would that authority be established? Where did the document come from in the first place? As I pondered these questions, a clutch of fragmentary writings began to appear under my hands — via the standard tech at the time: fountain pen, notebook paper, clipboard.
(Source: http://thenewriver.us/we-descend/)
Lucila Mayol Pohl - 09.10.2020 - 11:18
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Hiperpopeia: hiperpoema contínuo
Hiperpopeia é uma obra literária que consiste em um esforço de transformar em versos (com intenção épica, mas em formato livre) postagens encontradas nas redes sociais. Com quase 10.000 versos, escritos no período de um ano, as atualizações acumulativas e diárias tencionam chegar ao mesmo número de versos da Ilíada (15.693). Com restrições internas ao método composicional: nomes como o sujeito da frase; os verbos no passado perfeito (a conjugação narrativa e da ação-descritiva); os objetos vagos, ou superdescritos mas intencionalmente ambíguos; e a intenção de ignorar a mediação de celulares ou câmeras e até mesmo as redes sociais como o meio - fazendo com que a ação seja descrita como uma ação necessariamente concreta. Desta forma, um esforço para produzir uma escrita maquinal, a ser reproduzida de alguma forma em uma escrita algorítmica.
Breno Camargo Corrêa - 06.01.2021 - 19:01
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The Egg The Cart The Horse The Chicken
The egg, the cart, the horse, the chicken was written by Hazel Smith (text) and Roger Dean (sound). The hypertext and animations, written in Flash by Hazel Smith, are designed for a split screen. The texts in both the upper and lower frame are grouped into short linear 'scenes' which form an overall 'movie'. But the sequence in the upper frame can be disrupted by clicking on hyperlinks (marked in capital letters), which allow the reader to jump to texts other than the ones which follow each other in sequence. Consequently the juxtaposition of the texts on the two different screens is also variable. The piece engages with the way in which linear systems are constantly disrupted by non-linearity. This is written into the piece at a formal level by the use of the hyperlinks, animation and split screen, which tend to disrupt normal reading processes. Thematically the piece also addresses the ways in which a simple cause and effect relationship rarely operates, even within scientific systems.
Hazel Smith - 26.03.2021 - 11:22
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Intertwingling
INTERTWINGLING is a work for the web and for live performance, which involves hypertext and improvised music. The hypertexts are very diverse and include aphorisms, parodies, poems, fragments of narratives, and quotations. These are connected by hyperlinks, which allow the screener to take many different pathways through the work, so each screening will be different (and not all will include every text). In a live performance, the improvising musicians must respond to the hypertexts sonically, but they can do so in any way they choose. The hypertexts were written and visually designed by Hazel Smith, with image backgrounds supplied by Roger Dean. The sound is taken from a live performance of the work, given in December 1998 at the Performance Space, Sydney, which involved extensive digital processing of electronic and acoustic sound, played by the austraLYSIS Electroband (Roger Dean, Sandy Evans, and Greg White). The recorded sound has been slightly edited, and is presented playing both forwards and backwards, in streaming audio.
Hazel Smith - 26.03.2021 - 12:12
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Why don’t we read hypertext novels?
Ever since their appearance in the early 1990s, hypertext novels were presented as the pinnacle of digital aesthetics and claimed to represent the revolutionary future of literature. However, as a literary phenomenon, hypertext novels have remained marginal. The article presents some scientifically derived explanations as to why hypertext novels do not have a mass audience and why they are likely to remain a marginal contribution in the history of literature. Three explanatory frameworks are provided: (1) how hypertext relates to our cognitive information processing in general; (2) the empirically derived psychological reasons for how we read and enjoy literature in particular; and (3) the likely evolutionary origins of such a predilection for storytelling and literature. It is shown how hypertext theory, by ignoring such knowledge, has yielded misguided statements and uncorroborated claims guided by ideology rather than by scientifically supported knowledge.
Daniel Johannes Flaten Rosnes - 17.06.2021 - 21:39
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Canonizing Hypertext: Explorations and Constructions
Canonizing Hypertext: Explorations and Constructions focuses on a contemporary form of computer-based literature called 'literary hypertext', a digital, interactive, communicative form of new media writing. Canonizing Hypertext combines theoretical and hermeneutic investigations with empirical research into the motivational and pedagogic possibilities of this form of literature. It focuses on key questions for literary scholars and teachers: How can literature be taught in such a way as to make it relevant for an increasingly hypermedia-oriented readership? How can the rapidly evolving new media be integrated into curricula that still seek to transmit 'traditional' literary competence? How can the notion of literary competence be broadened to take into account these current trends? This study, which argues for hypertext's integration in the literary canon, offers a critical overview of developments in hypertext theory, an exemplary hypertext canon and an evaluation of possible classroom applications.
(Bloomsbury collections.)
Astrid Ensslin - 12.07.2021 - 09:27
