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Authors, Readers, and Progression in Hypertext Narrative
George Landow, Espen J. Aarseth, Stuart Moulthrop and many
others have heralded the development of hypertext because they
believe it represents a revolution in textuality that will radically
alter how we read and write, including of course how we read and
write narrative. Print texts, we are reminded by the champions of
this new medium, are linear while hypertexts are nonlinear.
Consequently, the argument goes, print narratives encourage reading
in a fixed, straight-line sequence—one word after another, one
page after another—under the control of the author. Even postmodern
attempts to subvert the fixity of the print sequence cannot
overcome the stability of the printed page and the restrictions on
format imposed by the traditional book. Hypertext narratives, on
the other hand, are fluid by design; their sequence changes based
on readerly decisions. To put it another way, as those who advance
this argument sometimes do, readers approach hypertext narratives
from variable positions within the narrative, and so their progression
through the text—indeed, the progression of the text—is notPatricia Tomaszek - 16.11.2012 - 15:32
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Hyperfiction – ein neues Genre?
Hyperfiction – ein neues Genre?
Beat Suter - 21.11.2012 - 11:24
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Der Link als Herme und Seitensprung. Überlegungen zur Komposition von Webfiction.
Der Link als Herme und Seitensprung. Überlegungen zur Komposition von Webfiction.
Beat Suter - 21.11.2012 - 11:37
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From page to screen: placing hypertext fiction in an historical and contemporary context of print and electronic literary experiments
Only recently has our perception of the computer, now a familiar and ubiquitous element of everyday life, changed from seeing it as a mere tool to regarding it as a medium for creative expression. Computer technologies such as multimedia and hypertext applications have sparked an active critical debate not only about the future of the book format, ("the late age of print" {Bolter} is only one term used to describe the shift away from traditional print media to new forms of electronic communication) but also about the future of literature. Hypertext Fiction is the most prominent of proposed electronic literary forms and strong claims have been made about it: it will radically alter concepts of text, author and reader, enable forms of non-linear writing closer to the associative working of the mind, and make possible reader interaction with the text on a level impossible in printed text. So far the debate that has attempted to put hypertext fiction into a historical perspective has linked it to two developments.
Scott Rettberg - 13.12.2012 - 23:40
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Alire: A Relentless Literary Investigation (ebr)
Phillippe Bootz gives an account of the longest standing web-based literary journal in France.
Patricia Tomaszek - 16.01.2013 - 10:19
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Literary Programming (In the Age of Digital Transliteration)
This paper is proposed as the second part of an essay, the first part of which was presented at DAC'98, having the overall title 'Performances of Writing in the Age of Digital Transliteration'. Part one of this essay raised questions -- contextualized by reference to Walter Benjamin and Friedrich Kittler, amongst others -- concerning the intrinsically digital characteristics of text, along with certain implications of these characteristics (and what they have entailed, specifically and especially: the Net) for traditional literary culture, for the latter's critique, and for textual, especially artistic textual practices.
Scott Rettberg - 19.01.2013 - 01:23
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XpoMOO: Ambient Thresholds, Random Art
XpoMOO: Ambient Thresholds, Random Art
Scott Rettberg - 19.01.2013 - 12:01
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Three-Dimensional Dementia: Hypertext Fiction and the Aesthetics of Forgetting
Hypertext (the non-sequential linking of text(s) and images) was first envisioned by Vannevar Bush and Ted Nelson in its prehistory as an associational, archival storage system suitable for classifying and sorting vast quantities of information. But where library databases, technical manuals and other knowledge-based hypertexts still fulfill this function, literary hypertext overturns this proposed usage, celebrating both information overload and forgetfulness as the desired end of a reading. Promoting disassociation and an awareness of the spatio-temporal dimensions of its environment, hypertext fiction uses the aesthetics of its three-dimensional interface and structure to frustrate memory and to engender a sensory and emotional response in the reader. Focusing on M.D. Coverley's multimedia hypertext Califia, I will investigate how the aesthetics of the hypertext form become an engine of forgetfulness that drives her text through its explorations of lost memories, including the ravages of Alzheimer's, unofficial histories, secrets, missing pieces and the quest for hidden treasure.
Scott Rettberg - 19.01.2013 - 12:26
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Visualizing Cultures in the Age of Digital Media
"Visualizing Cultures In The Age Of Digital Media" is a hypertextual interactive work designed for DVD, that explores the ways media shape our understanding of cultural places and events. The work incorporates original material on West African performances and events recorded in Ghana as well as clips from a number of early and exemplary documentaries. The project includes an analysis of theories of montage, tropes, visual cognition, and cultural practices within the context of hypermedia and the new technology, bridging the fields of visual studies, cultural studies, media studies, art history, visual anthropology and communication. It suggests new tools and methods of representation available to students, scholars and filmmakers and raises questions about the relationship of language to text and theory to practice in the arts of digital representation.
(Source: DAC 1999 Author's abstract)
Scott Rettberg - 19.01.2013 - 12:32
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Present, tense, ordinary, fiction comma dot calm
Present, tense, ordinary, fiction comma dot calm
Scott Rettberg - 19.01.2013 - 13:01
