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1. Semantisation, Exploration, Self-reflection and Absorption: Our Modes of Reading Hypertext Fiction

   "How do we read hypertext fiction? The question has been widely explored (Moulthrop 1991; Kaplan and Moulthrop 1991; Snyder 1997; Miall and Dobson 2001; Ryan 2001; Gardner 2003; Gunder 2004; Landow 2006; Mangen 2006; Page 2006) and there seems to be a consensus regarding the reader’s experience of hypertext fiction. Many critics actually claim that reading hypertext fiction generates frustration and insecurity. These and other studies describe how their readers react on and respond to hypertext fiction, but, as I see it, they partly fail in that they put to much weight on the reader’s responds and hardly no weight on the fact that hypertext fiction just like print fiction encourage or prefigure different responses and different modes of reading. The consequence is that these studies suffers from limitations witch lessens their valuable contribution to our knowledge about reading hypertext fiction. One reason for this might be that hypertext theory lack established concepts for describing response structures that encourage different modes of reading.

   Eric Dean Rasmussen - 27.01.2011 - 15:13

2. Opening Sources

   Opening Sources is a poem continuously written by anonymous online authors. In live performance, the poem is projected on a screen and the audience is invited to edit the text while the reading is underway. A loop of feedback forms as the audience takes uncertain control over its collective voice.

   Note: the text presented is often English, but could be in any language.

   (Source: Author's description from project site)

   Scott Rettberg - 28.03.2012 - 12:36