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Hypertext: Reading Between the Links
Hypertext: Reading Between the Links
Scott Rettberg - 05.07.2013 - 15:42
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Hoaxes
Brief definition and history of digital hoaxes.
Jill Walker Rettberg - 22.04.2014 - 06:07
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Hypertext Revisited
This article proposes a new approach to literary hypertext, which foregrounds the notion of interrupting rather than that of linking. It also claims that, given the dialectic relationship of literature in print and digital-born literature, it may be useful to reread contemporary hypertext in light of a specific type of literature in print that equally foregrounds aspects of segmentation and discontinuity: serialized literature (i.e. texts published in installment form). Finally, it discusses the shift from spatial form to temporal form in postmodern writing as well as the basic difference between segment and fragment.
J. R. Carpenter - 05.01.2015 - 15:33
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Narrative Affect in William Gillespie's Keyhole Factory and Morpheus: Biblionaut, or, Post-Digital Fiction for the Programming Era
Programmable computation is radically transforming the contemporary media ecology. What is literature's future in this emergent Programming Era? What happens to reading when the affective, performative power of executable code begins to provide the predominant model for creative language use? Critics have raised concerns about models of affective communication and the challenges a-semantic affects present to interpretive practices. In response, this essay explores links between electronic literature, affect theory, and materialist aesthetics in two works by experimental writer and publisher William Gillespie.
Focusing on the post-digital novel Keyhole Factory and the electronic speculative fiction Morpheus: Bilblionaut, it proposes that: first, tracing tropes of code as affective transmissions allows for more robust readings of technomodernist texts and, second, examining non-linguistic affect and its articulation within constraint-based narrative forms suggests possibilities for developing an affective hermeneutics.
Eric Dean Rasmussen - 02.06.2016 - 11:15
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The joy of text-the fall and rise of interactive fiction.
he annual Interactive Fiction Competition is an institution that has endured for almost 20 years, with the goal of discovering each year’s best and brightest works in the world of text-based gaming. The genre is surprisingly broad and complex – and this year’s entries show how much text games have to offer modern audiences, even those who don’t ordinarily play computer games.
The age of free and intuitive creation tools, combined with the explosion of mobile platforms, e-reader devices and an audience that’s comfortable reading screens, means a brand-new opportunity for fresh narrative experiences that stand to attract new types of players.
Veteran gamers may remember the text-based adventures of history – titles like Adventureland, Zork and Hitchhiker’s Guide to the Galaxy. Arriving in the late 1970s and early 80s, they were taut, forbidding puzzles of logic and language; proceeding the age of graphics on home computers, they made the most of constraints, using brief, carefully chosen prose and a limited list of terse commands to create the experience.
Martin Li - 21.09.2020 - 16:54
