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1. Le Nœud

   Le Nœud

   Eric Dean Rasmussen - 17.08.2011 - 16:04

2. Écran Total

   Écran Total

   Eric Dean Rasmussen - 17.08.2011 - 16:06

3. Literature Nation

   Literature Nation

   Eric Dean Rasmussen - 05.09.2011 - 10:48

4. Firefly

   Firefly: a tale told in 180 degrees of separation is a lyrical yet formal structure comprised of 6 stanzas, each five lines "long" and six lines "deep." Readers make their own way through the text by clicking on each line to reveal a different facet of the story. Click on the right hand icon for the next installment of lines.

   The work is a "true" hypertext in that it cannot be read linearly. The structure, subtly changing settings, and reader interaction all provide multi-dimensional spaces for meaning, subtext, and context.

   (Source: Description from Poems that Go)

   Eric Dean Rasmussen - 07.09.2011 - 10:40

5. My Boyfriend Came Back From the War

   My Boyfriend Came Back From the War

   Scott Rettberg - 07.09.2011 - 20:22

6. Pentimento

   This narrative poem is a fascinating type of hypertext because instead of having five primary nodes from which to follow linear threads it uses a layering interface for navigation. The reader, instead of clicking on links, scrapes away at images to reveal an image beneath, and can continue to scrape away until she reaches the end of that narrative thread. This allows readers to reveal more than one layer at a time, as pictured above in a screenshot of three layers in the introduction. (Source: Leonardo Flores, I ♥ E-Poetry)

   Jerome Fletcher - 30.09.2011 - 13:46

7. To Find the White Cat in the Snow

   David Herrstrom's "To Find the White Cat in the Snow," takes the modernist practice of thematically or associatively linking sections of a poem, and carries it a step further with hypertext. Like Wallace Stevens in "Thirteen Ways of Looking at a Blackbird," Herrstrom provides no narrative links between the sections of his poem. Unlike Stevens, Herrstrom is not constrained by the technology of print to present the stanzas of his poem sequentially, in a manner best suited to narrative. His poem is not a narrative and it is not ordered as if it were. It's ordering is hypertextual: the reader controls the sequence in which the stanzas appear and disappear. "To Find the White Cat . . ." is about, among other things, the difficulty of apprehension and the interrelationship of the phenomenal and the conceptual.

   (Source: The New River, Editor's note by Ed Falco)

   Scott Rettberg - 11.10.2011 - 15:02

8. fleshtresholdnarrative

   The particular concern with the "fleshthresholdnarrative" series is with the limit-sites of narrative (where narrative spills over into theory, poetry, data/information, the sciences,history, etc.). Rather than (re)constructing a more familiar form of narrative (those forms of chronological, causal, and organized events inherited from the 18th century), my interest was to explore the non-narrative aspects of narrative, and the narrative aspects in non-narrative within a context akin to J.G. Ballard's "condensed novels" (e.g., "The Atrocity Exhibition"). The highly aphoristic and dense quality of these segments was also well-suited to the medium of hypertext and the net in terms of establishing in the act of reading a range of inter-relationships. 

   (Source: Author's note from The New River 1)

   Scott Rettberg - 11.10.2011 - 15:13

9. Virtual Reality Exhibit at the Singapore Museum

   A hypertext poem. The reader navigates through different stanzas by selecting icons.

   Author's note:

   The sheer profusion of a city like Singapore calls reality into question. Exhilarating mix of cultures, plants and animals, surreal insects and multi-colored carp, it plays on the nagging fear that this world is not quite our home. Such anxiety is pitched to the surface by the pressure of the ordinary loneliness of a stranger in a strange land .

   We can't escape the making of virtuality, any more than we can avoid being connected to the human city (genet) and at the same time individuated from it (ramet). Everything "suffering description," which is the world, the "possible to be believed," is real. And in this fecund city of lives within a strict order, we become acutely aware that the assertion "In the city of Singapore eyes saw" is not so simple.

   (Source: The New River 3)
    

   Scott Rettberg - 12.10.2011 - 11:29

10. Nightmare Wanders Father's Song

    The four words that comprise the title--Nightmare, Wanders, Fathers, Song--are hidden in the black field of the opening screen, to be found by readers as they explore with cursors. The title thus changes from reader to reader. It may include all four words, as in "Song Wanders Fathers Nightmare," if the reader sticks around the opening screen long enough; or the title may simply be "Nightmare," or "Song," if the reader follows the first link found. You see the possibilities. In this new poem . . . Harrell brings a traditional lyric sensibility to the digital fields of hypertext poetry.

    Scott Rettberg - 12.10.2011 - 11:44

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