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Uncle Roger
In the spring of 1986, Judy Malloy was invited by video and performance art curator Carl Loeffler to go online and write on the seminal Art Com Electronic Network (ACEN) on The WELL where ACEN Datanet, an early online publication, would soon feature actual works of art, including works by John Cage, Jim Rosenberg, and Malloy's Uncle Roger. In August 1986, Malloy began writing and designing the interface for the hyperfictional narrative database, Uncle Roger. Originally this work was published as a series of three files on the Well. It has been described as a "database narrative", though it could equally be described as a hypertext fiction. Each node consists of a paragraph or two of text. Below the text is a list of links, each leading to a new node. Malloy describes the story thus: "Uncle Roger is a work of narrative poetry written in the tradition of Greek and Shakespearean comedy.
Jill Walker Rettberg - 04.04.2011 - 20:31
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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
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Golpe de Gracia
Golpe de gracia is an interactive multimedia piece that combines text, illustration, audio, modeling, and animation and tells the story of a character who undergoes a "near death" experience; this particular situation also functions as a metaphor for the cultural transitions of the present moment. The text is comprised of three "narrative worlds": Cadáver exquisito, L'nea mortal and Muerte digital (Exquisite Corpse, Mortal Line, and Digital Death, respectively) and four "deepening rooms" (games, reading texts, study, and construction). The work offers several different degrees of interaction that range from taking decisions in order to follow the routes, all the way up to the collective construction of the text, along the way participating in several interactive games. Golpe de gracia also has an educative and communicative purpose, which is to make us aware of, and to contribute to, the development of collective knowledge.
Scott Rettberg - 15.04.2011 - 14:53
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Reconstructing Mayakovsky
Inspired by the poet Vladimir Mayakovsky who killed himself in 1930 at the age of thirty-six, this hybrid media novel imagines a dystopia where uncertainty and discord have been eliminated through technology. The text employs storylines derived from lowbrow genre fiction: historical fiction, science fiction, the detective novel, and film. These kitsch narratives are then destabilized by combining idiosyncratic, lyrical poetic language with machine-driven forms of communication: hyperlinks, "cut-and-paste" appropriations, repetitions, and translations (OnewOrd language is English translated into French and back again using the Babelfish program.) In having to re-synthesize a coherent narrative, the reader is obliged to recognize herself as an accomplice in the creation of stories whether these be novels, histories, news accounts, or ideologies. The text is accessed through various mechanisms: a navigable soundscape of pod casts, an archive with real-time Google image search function, a manifesto, an animation and power point video, proposals for theatrical performances, and mechanism b which presents the novel in ten randomly chosen words with their frequencies.
Scott Rettberg - 15.04.2011 - 15:38
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Accounts of the Glass Sky
In this Flash hypertext, Coverley weaves a tapestry of text, image, and sound, telling a California story that many readers can relate to. In this piece, the sky itself is the center of a meditation on memory and loss across decades of human experience. The same "blue sky" that often refers to people's wildest dreams now comes to represent boundaries and fears.
(Source: Electronic Literature Collection, Vol. 1.)
Eric Dean Rasmussen - 18.04.2011 - 11:07
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Chemical Landscapes Digital Tales
Chemical Landscapes is a series of photograms by Mary Pinto. The photos suggest landscapes but are created entirely in the dark room, using only chemicals and a flashlight. For this project, I've written a series of "digital tales" suggested by the particular chemical landscape. I hope the relationship of language and narrative to the "tale" parallels the relationship of light and chemicals to the "landscape." The piece begins with a title page that serves as a navigation page. By clicking at various places on the page you're taken to one of the eight chemical landscapes. Once you arrive at a landscape, the digital tale fades in and then out, and you may click on the screen at any point to jump back to the navigation page. I have tried to time the fading in and out of the text so that it is almost impossible to read it all before it fades away. My hope is that the reader will recognize the necessity of jumping around in the text, picking up pieces of the tale to read and ignoring other pieces, thereby creating a different experience with each reading.
Eric Dean Rasmussen - 19.04.2011 - 07:24
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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
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Frequently Asked Questions about "Hypertext"
Frequently Asked Questions about "Hypertext" is a short fiction, in the form of a FAQ document, that revolves around various interpretations of a 69-word poem called "Hypertext." The poem "Hypertext," nominally by "Alan Richardson," is composed from all the hidden words/anagrams contained within the nine-letter word "hypertext." The tongue-in-cheek interpretations of the fictional poem include the perspectives of language poetry, cultural studies, feminism, and transgender studies. Emerging through the interpretations and FAQ answers, however, are the interwoven "real-life" stories of the troubled author and his/her troubled critics. The poem's notoriety creates a fan fiction phenomenon centered around an online database, which, along with its creator(s), comes under attack. As in Nabokov's Pale Fire, pseudo-literary criticism gives way to a mystery story about the real author of the text, transformation and transsexuality, love and murder.
(Source: Author description, ELC 1).
Eric Dean Rasmussen - 09.05.2011 - 12:53
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The Book After the Book
One is not after the novelty of cyberculture, nor striving to reinforce the now tedious discourse of the Internet’s redeeming potential as a computer web able to candidly unite all humanity into a global village.
This wouldn’t be more than a chapter in the spectacular history being successfully elaborated in the last ten years by the computer and software industry.
This narrative confers to the selfsame industry the power and the mission to inaugurate a new era. But digital writing points to another direction. It celebrates the loss of inscription by removing the trace from acts of erasure.
~
Scott Rettberg - 23.05.2011 - 13:47
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The Roar of Destiny
Described by interactivecinema.org as "...a perfect example of thought and physical interaction working together... ", The Roar of Destiny is a hyperpoem constructed with hundreds of intertwined lexias. A dense interface of links that lead to fragmented story-bearing lexias, creates an experience of environment and altered environment , and the reader, like the narrator, is involved in a continual struggle between the real and the virtual.
Scott Rettberg - 02.07.2011 - 01:23
