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1. Where No Mind Has Gone Before: Ontological Design for Virtual Spaces

   Hypermedia designers have tried to move beyond the directed graph concept, which defines hypermedia structures as aggregations of nodes and links. A substantial body of work attempts to describe hypertexts in terms of extended or global spaces. According to this approach, nodes and links acquire meaning in relation to the space in which they are deployed. Some theory of space thus becomes essential for any advance in hypermedia design; but the type of space implied by electronic information systems, from hyperdocuments to “consensual hallucinations,” requires careful analysis. Familiar metaphors drawn from physics, architecture, and everyday experience have only limited descriptive or explanatory value for this type of space. As theorists of virtual reality point out, new information systems demand an internal rather than an external perspective.

   Scott Rettberg - 02.07.2013 - 11:55

2. Ut Pictura Hyperpoesis: Spatial Form, Visuality, and the Digital Word

   This essay discusses the visual characteristics of hypertext (space, contour, depth) by situating it, as an artistic form, in the literary traditions that it extends and modifies. While, from a literary perspective, hypertextuality is nothing new, what is revolutionary is the way that computerized hypertext emulates the spatial and visual qualities that literary texts have historically struggled to effect. To illustrate the concept of spatial form I have chosen to analyze the mola web, a hypertext which is unique, though not abnormal, in the extremity of its link structure. One needs only think of the ubiquitous metaphor of the labyrinth in hypertext criticism or of the recent attention given to spatial user interfaces to see how dependent is the idea of hypertext on a spatial form.

   Scott Rettberg - 02.07.2013 - 14:21

3. Mola

   Mola

   Scott Rettberg - 02.07.2013 - 14:33

4. A Literatura Factorial [l!]

   By focusing on hyperfiction, this paper presents some proto-hyperfictions, dealing with literature's combinatorial processes (ars combinatoria), and with its composition based on permutations. This practice, which continues today, although using different techniques and effects, I call factorial literature [l!]. My aim is to introduce the concept of factorial literature as a transtemporal genre that has been intensified in the context of electronic literature. In the analysis of hyperfiction, I return to the definitions of hypertext by Theodor Holm Nelson (1965) and Gérard Genette (1982). Referring back to essays by Italo Calvino (1967) on literature, mathematics and cybernetics, and articles by Robert Coover (1992, 1993) about the new literary practices in digital environments, I prepare the coordinates for a revaluation of hyperfiction's recent history and its software, namely through the transient concept of constant restart, associated with the reader's new role as user.

   Patricia Tomaszek - 02.07.2013 - 17:01

5. A File Structure for the Complex, the Changing and the Indeterminate

   THE KINDS OF FILE structures required if we are to use the computer for personal files and as an adjunct to creativity are wholly different in character from those customary in business and scientific data processing. They need to provide the capacity for intricate and idiosyncratic arrangements, total modifiability, undecided alternatives, and thorough internal documentation. I want to explain how some ideas developed and what they are. The original problem was to specify a computer system for personal information retrieval and documentation, able to do some rather complicated things in clear and simple ways. In this paper I will explain the original problem. Then I will explain why the problem is not simple, and why the solution (a file structure) must yet be very simple. The file structure suggested here is the Evolutionary List File, to be built of zippered lists. A number of uses will be suggested for such a file, to show the breadth of its potential usefulness. Finally, I want to explain the philosophical implications of this approach for information retrieval and data structure in a changing world.

   (Source: Author's abstract, ACM digital library)

   Scott Rettberg - 09.07.2013 - 00:44

6. The Last Song of Violeta Parra

   A hyperdrama produced as a collaboration between Deemer and Espejo, set in a Chilean art gallery. A multilinear comedy of manners.

   Scott Rettberg - 12.07.2013 - 12:39

7. Quadrego

   Quadrego

   Scott Rettberg - 12.07.2013 - 12:50

8. BEAST

   BEAST. The Web fosters, and depends on, utter transience of attention. Extending television's effects through its much-vaunted interactivity, it has reduced writing to "content" squeezed between gaud and flash and irrelevance. In Beast, the reader directs the progress of a single text by interacting with it and its interior world of fake-3-D images. Beast tries to tap the interactive possibilities of the medium while allowing the text to be seen as a whole; the eye is a hypertext engine more sophisticated than any we could devise. But Beast also subverts itself through jarring messages and the system's periodic takeover of its own functions. A nightmarish, superficially dehumanizing system, Beast decocts much that is terrifying and unpleasant about computer technology, and about society and ourselves as the computer has built us. But this monstrosity has a humanizing core, the text, that speaks to the anxieties the system produces.

   Scott Rettberg - 12.07.2013 - 13:34

9. Psevdoglubokomyslennye pykhteniya pravdolyubtsa-psevdoistorika

   Psevdoglubokomyslennye pykhteniya pravdolyubtsa-psevdoistorika

   Natalia Fedorova - 16.07.2013 - 14:20

10. kokura

    kokura

    Scott Rettberg - 16.07.2013 - 16:02

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