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1. Immersion and Interactivity in Digital Fiction

   Digital fiction began by defining itself against the printed book. In so doing, transgression of linearity and the attempt to reduce the authorial presence in the text, were soon turned into defining characteristics of this literary form. Works of digital fiction were first described as fragmented objects comprised of “text chunks” interconnected by hyperlinks, which offered the reader freedom of choice and a participatory role in the construction of the text. These texts were read by selecting several links and by assembling lexias. However, the expansion of the World Wide Web and the emergence of new software and new devices, suggested new reading and writing experiences. Technology offered new ways to tell a story, and with it, additional paradigms. Hyperlinks were replaced with new navigation tools and lexias gave way to new types of textual organization. The computer became a multimedia environment where several media could thrive and prosper. As digital fiction became multimodal, words began to share the screen with image, video, music or icons.
   

   Daniela Côrtes Maduro - 05.02.2015 - 12:28

2. Shapeshifting texts: following the traces of narrative in digital fiction

   We have been referring to electronic literature as a corpus of texts with dynamic and
   multimodal features. A digital text can change during reading and assume the form of a
   collage work, a film or a game. Additionally, the text as a whole (Eskelinen, 2012),
   because of its own transient nature, might never be presented to the reader. The text
   can be played at such a pace as to be partly or completely ungraspable. Due to the range
   of forms assumed by the text, it might also be unable to return to an early state. This
   means that the reader might not be allowed to reread or replay the text in order to achieve
   a final or coherent version of it. This also means that there might be no original state to
   return to.
   Shapeshifting is the ability of a being to take the form of an object or of another being.
   This has been a common theme in folklore and mythology and it continues to be explored
   in games or in fantasy and science fiction films, as well as in literature. Since digital
   fiction is created through a computer and this tool can show emergent behavior, texts can
   

   Daniela Côrtes Maduro - 05.02.2015 - 14:48

3. Cybertextuality

   Cybertexts are the pairs of utterance-message and feedback-response that pass from speaker-writer to listener-reader, and back, through a channel awash with noise. Cybertextuality is a broad theory of communication that draws on the cybernetics of Norbert Wiener (1894-1964) to describe how we manage these dual message-feedback cybertexts into being and that helps explain the publishing, the transmission, and the reception of all speech and text. Recursiveness, complexity, and homeostasis are three principles of cybertextuality. Because we are cognitively blind to how we create most utterances (language belongs to procedural memory, which can be recalled only by enacting it), we unselfconsciously model even our own language acts (not just ones by other people) simply in order to recognize and revise them. We observe or receive our own language acts before anyone else does. Our feedback is to represent those acts meaningfully. Mental modelling, as a feedback mechanism, is recursive. Our every utterance or output serves as input to another (possibly silent) uttering. Messaging-feedback is also complex.

   Alvaro Seica - 11.03.2016 - 15:10

4. Imersão e Interactividade na Ficção Digital

   A presente tese de doutoramento é dedicada a uma forma de contar histórias com cerca de três décadas de existência. Recém-chegada ao horizonte literário, a ficção digital começou por definir-se através de uma contraposição face ao livro impresso. A transgressão da linearidade e a tentativa de reduzir a presença autoral no texto, foram tornadas em características fundamentais desta forma literária. As primeiras obras de ficção digital eram descritas como objectos fragmentados que continham lexias interligadas através de hiperligações. Esta estrutura tinha como objectivo oferecer liberdade de escolha ao leitor e uma maior participação na construção do texto. No entanto, a expansão da World Wide Web e a emergência de novo software e de novos dispositivos permitiram a criação de experiências adicionais de leitura e de escrita. A tecnologia possibilitava a introdução de novas formas de contar histórias, mas também novos paradigmas. A hiperligação acabaria por ser substituída por novas ferramentas de navegação e a divisão em lexias acabaria por dar lugar a novos tipos de organização textual.

   Daniela Côrtes Maduro - 20.09.2016 - 14:29

5. The Pleasures of Immersion and Interaction

   J. Yellowlees Douglas and Andrew Hargadon on the affective side of hypertexts via “schemas, scripts, and the fifth business.”

   Andre Lund - 05.10.2017 - 19:51

6. Hypertext '97

   John Cayley reviews the Hypertext ‘97 Conference, which brought together representatives from corporate and academic sectors.

   Apologies: This is not a ‘balanced’ review of the Hypertext ‘97 conference, but only, as Ted Nelson would put it, one particular, packaged, ‘point of view’. I haven’t named all the names I should have or even many and I have not explicitly acknowledged the herculean efforts of the many organizers. Readers are referred to the full published conference proceedings, The Eighth ACM Conference on Hypertext, edited by Mark Bernstein, Leslie Carr, and Casper Osterbye (New York: ACM, 1997). My perspective is that of a practitioner of literary cybertext. This piece was written quickly as a draft towards a (probably shorter) review of the conference which is to be published in the UK-based periodical (presently a quarterly newspaper) of ‘digitalartcritique’ entitled Mute.

   tye042 - 18.10.2017 - 14:45

7. Grammalepsy : Essays on Digital Language Art

   Collecting and recontextualizing writings from the last twenty years of John Cayley's research-based practice of electronic literature, Grammalepsy introduces a theory of aesthetic linguistic practice developed specifically for the making and critical appreciation of language art in digital media. As he examines the cultural shift away from traditional print literature and the changes in our culture of reading, Cayley coins the term “grammalepsy” to inform those processes by which we make, understand, and appreciate language.

   Framing his previous writings within the overall context of this theory, Cayley eschews the tendency of literary critics and writers to reduce aesthetic linguistic making-even when it has multimedia affordances-to “writing.” Instead, Cayley argues that electronic literature and digital language art allow aesthetic language makers to embrace a compositional practice inextricably involved with digital media, which cannot be reduced to print-dependent textuality.

   David Wright - 05.09.2019 - 03:42

8. 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

9. From (w)reader to breather: Cybertextual de-intentionalisation in Kate Pullinger et al.’s Breathing Wall

   The aim of this paper is to investigate and exemplify a recent phenomenon in the practice of digital narrative, which engages creatively with the interplay between intentionality and corporeality in the reading process. Drawing on Espen Aarseth's (1997) alternative communication model, I introduce the concept of 'cybertextual retro-intentionalisation'. This concept refers to a hitherto unforeseen kind of transmedial and multimodal 'reading' that is governed by corporeal processes operating in competition with mental forces.

   (Source: summary from researchgate.net)

   Caroline Tranberg - 28.09.2021 - 01:04

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