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1. Amor de Clarice

   Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.

   Scott Rettberg - 15.04.2011 - 12:04

2. 10:01

   10:01 is the complementary and complimentary hypermedia version of Olsen's avant-pop novel 10:01 (Chiasmus, 2005) about what goes through the minds of the audience in an AMC theater at the Mall of America ten minutes and one second before the feature film commences.(Source: Author's description from Electronic Literature Collection, Volume One.)

   Eric Dean Rasmussen - 21.04.2011 - 10:47

3. F2F

   F2F might seem retro to you. It struck me as very 1991. The idea of a hypertext that is heavy on the text seemed to lose its charm as soon as images, moving animation, video and sound could also be included. One of the downsides to the speed of the evolution of hypertext, is that whole possible genres and subgenres were not given the chance to grow. What happened to the web-film-essay? Well, it never happened. Sure, there are some text-book-market CD-ROMs and the like that do something similar, but they use video more as mere illustration. What about a film essay that would incorporate the mystery the moving image rather than try to compete with it? What about utilizing images and sounds that potentially resist the text? What about playing with the clips like a video artist would?

   Joe Milutis - 20.01.2012 - 22:40