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Piecing Together and Tearing Apart: Finding the Story in afternoon
This paper is a reading of a classic of hypertext narrative: Michael Joyce’s afternoon, a story. Several writers have discussed afternoon previously. However I have chosen to explore afternoon from a different angle by using theories of narratology, especially Genette. In this reading, I explore ways in which the text confuses the reader but also the many stabilising elements that aid the reader to piece together a story.
NB: Published under author's unmarried name, Jill Walker.
Jill Walker Rettberg - 14.01.2011 - 12:40
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Sunshine '69
In this hypertext novel Bobby Rabyd [Robert Arellano] explores the pop-cultural shadow-side of 1969—from the moon landing to the Manson murders, from a Vietnam veteran's PTSD to a rock star's idolatry, from the love-in at Woodstock to the murder at Altamont—by relating intermixed stories and emphasizing graphics and music.
(Source: Electronic Literature Directory)
Jill Walker Rettberg - 14.01.2011 - 12:54
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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
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New Media Literary: Hypertextual, Cybertextual, and Networked
The presentation deals with the problem of new media literacy, as compound of digital and network paradigm – whose differences with Web 2.0 are rapidly disappearing. However, the differentiation between digital and network is necessary in order to translate textual typology into cultural analysis – the hidden mission of new media theory from the very beginning.
First generation of hypertextual theoreticians detected hypertextuality as the basis of new media literacy – nonlinearity, interactivity and openness of the text were seen as democratisation of literacy. The presentation will try to demonstrate that hypertextuality is only a component of the digital paradigm, which is marked by broader flexibility of the text as productive apparatus. (That productivity of digital deconstructionist and poststructuralist theory connected with interpretation, but productivity is conducted, as Espen Aarseth pointed out, at the level of mechanical production.)
Eric Dean Rasmussen - 27.01.2011 - 16:28
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Figurski at Findhorn on Acid
Richard Holeton's Figurski at Findhorn on Acid is a hypertext novel released for Storyspace by Eastgate publishers in 2001. The story follows the main character Frank Figurski’s quest to acquire a legendary mechanical pig. As Alice Bell points out, this was one of the last major hypertext works created using Storyspace, as authors began to move to web-based tools and CD-ROM based platform became outmoded (150).
Background:
Holeton's hypertext work originated as an award-winning short story “Streleski on Findhorn on Acid" published in 1996 (Grigar et al). That same year, he took part in Robert Kendell's online writing class "Hypertext Poetry and Fiction" at the The New School for Social Research, where he reworked the print story into an electronic text. He produced a novel-length draft for his masters thesis at San Francisco State University; it was the first electronic thesis approved by SFU (Grigar et al). The "canonical" version of Figurski at Findhorn on Acid was released on CD-ROM by Eastgate publishers in 2001.
Eric Dean Rasmussen - 02.02.2011 - 14:30
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I mellom tiden
I mellom tiden er et hypertekstuelt nettkunstverk bestående at statiske og dynamiske elementer, lyd, skrift, bilde, video og grafikk. Verket er sentrert rundt fire temaer; venner, alene, familie og elskere. Ved å traversere verket får leseren mulighet til å oppleve ulike hverdagslige aspekter i livet, på tvers av de fire temaene. Gjennom sampling og et samspill mellom temaer, stemninger, modaliteter, sjangrer og ulik grad av brukerstyring framstiller I mellom tiden en mangefasettert og kompleks estetikk, der ulike livsverdener interagerer med hverandre, der det virkelige møter det kunstige, det private møter det offentlige, og der det åpne møter det dunkle. [verkbeskrivelse av Hans-Kristian Rustad / ELINOR]
Scott Rettberg - 02.02.2011 - 16:10
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The ABCDESTRUCTIONOPQRXYZÅÄÖ
Heldén's usual sophisticated visual language has here been cast aside in preference for a strictly simple HTML construction where texts, photographs and the urging to keep moving forwards drive the reading of this short work (next, next...). The work shows how digital techniques can allow for relatively simple arrangements of text and images that still belong in a digital environment.
(Source: Maria Engberg, for ELINOR)
Jill Walker Rettberg - 02.02.2011 - 21:16
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oooxxxooo
Cycle of interlinked poems, combining ascii art layout with concrete, hypertextual poetry.
Jill Walker Rettberg - 02.02.2011 - 22:46
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Zeit für die Bombe
"Zeit für die Bombe" ist eine multilineare Erzählung, die ich 1997 fürs World Wide Web schrieb. Schon damals träumte ich davon, sie einmal in einem digitalen Buch zu lesen. Als die Erzählung beim Internet-Literaturpreis "Pegasus" der Wochenzeitschrift "DIE ZEIT" den 1. Preis gewann, rieten mir viele Leute dazu, die Quatschidee mit dem digitalen Buch schnell wieder aufzugeben und stattdessen ein vernünftiges, also gedrucktes Buch zu schreiben. Grund: Der Hypertext sei tot, und das schon länger. Ob ich denn das noch nicht bemerkt hätte? Womöglich aus purer Sturheit schrieb und programmierte ich trotzdem weiter Hypertexte ( "Hilfe!" und "Die Schwimmmeisterin"), bis das Nachrichtenmagazin "Der Spiegel" mir 2002 den zweifelhaften Ehrentitel "Veteranin der schwindsüchtigen Szene" verlieh. Immerhin erkannte ich, dass das Magazin damit so falsch nicht lag. Denn multilineare Erzählungen im Internet zu veröffentlichen, hatte unübersehbare Nachteile. Der größte davon war, dass die Leser diese gar nicht lasen, sondern vor allem darin herumklickten, und zwar so schnell, dass sie gar nichts lesen konnten.
Eric Dean Rasmussen - 07.02.2011 - 13:50
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forking paths
This work was an early experiment with literary hypertext that has been discussed or mentioned in several early theoretical texts, but that has never been published in full because it mostly consists of text from Borges' short story "The Garden of Forking Paths". Moulthrop describes it as "a sort of low-grade literary pastiche concocted as a laboratory demonstration--or parlor game--for an undergraduate writing class in 1987." Documentation of the work, with most of the text from Borges' short story removed, is published on the CD that accompanies Montfort and Wardrip-Fruin's New Media Reader.
Eric Dean Rasmussen - 11.02.2011 - 10:35
