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The End of Books
Coover's "The End of Books" essay in the New York Times significantly introduced hypertext fiction to a wider literary audience. The essay describes that ways that hypertext poses challenges for writers and readers accustomed to coventional narrative forms, including assumptions about linearity, closure, and the division of agency between the writer and reader.
Jill Walker Rettberg - 14.01.2011 - 12:33
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Piecing Together and Tearing Apart: Finding the Story in afternoon
This paper is a reading of a classic of hypertext narrative: Michael Joyce’s afternoon, a story. Several writers have discussed afternoon previously. However I have chosen to explore afternoon from a different angle by using theories of narratology, especially Genette. In this reading, I explore ways in which the text confuses the reader but also the many stabilising elements that aid the reader to piece together a story.
NB: Published under author's unmarried name, Jill Walker.
Jill Walker Rettberg - 14.01.2011 - 12:40
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First Person: New Media as Story, Performance and Game
Electronic games have established a huge international market, significantly outselling non-digital games; people spend more money on The Sims than on "Monopoly" or even on "Magic: the Gathering." Yet it is widely believed that the market for electronic literature—predicted by some to be the future of the written word—languishes. Even bestselling author Stephen King achieved disappointing results with his online publication of "Riding the Bullet" and "The Plant."
Jill Walker Rettberg - 26.01.2011 - 23:08
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How I Was Played by Online Caroline
A close reading of Online Caroline, a story presented as a diary website with videos by Rob Bevan and Tim Wright.
Jill Walker Rettberg - 26.01.2011 - 23:12
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Choice vs. Interaction: the Case of Online Caroline
Reader choice among links in hypertext has often been classified as a form of interactiuvity and has sometimes been claimed as empowering the reader. The case of the website Online Caroline, however, shows that it is possible for apparent choice and interaction to serve only to further constrain and dictate the reader's experience. We must be careful to distinguish meaningful from superficial choice when evaluating “interactive fiction” and its potential.
Jill Walker Rettberg - 26.01.2011 - 23:29
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Semantisation, Exploration, Self-reflection and Absorption: Our Modes of Reading Hypertext Fiction
"How do we read hypertext fiction? The question has been widely explored (Moulthrop 1991; Kaplan and Moulthrop 1991; Snyder 1997; Miall and Dobson 2001; Ryan 2001; Gardner 2003; Gunder 2004; Landow 2006; Mangen 2006; Page 2006) and there seems to be a consensus regarding the reader’s experience of hypertext fiction. Many critics actually claim that reading hypertext fiction generates frustration and insecurity. These and other studies describe how their readers react on and respond to hypertext fiction, but, as I see it, they partly fail in that they put to much weight on the reader’s responds and hardly no weight on the fact that hypertext fiction just like print fiction encourage or prefigure different responses and different modes of reading. The consequence is that these studies suffers from limitations witch lessens their valuable contribution to our knowledge about reading hypertext fiction. One reason for this might be that hypertext theory lack established concepts for describing response structures that encourage different modes of reading.
Eric Dean Rasmussen - 27.01.2011 - 15:13
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Toward an Ontology of the Field of Digital Poetry
author-submitted abstract:
This essay proposes a model of an ontology based on the ontological model by Spinoza commented by Deleuze. It aims at establishing properties of a tool for indexing documents related to the field of digital poetry. It is build in three stages.
In a first stage, we build a normalised graphical representation of the Spinoza’s model. We show that this philosophical model can easily be schematised in a combination between a relation/entity model and an set representation with internal graphical lows. These graphics are normalised because each part of them has a unique and constant significant. So, such graphics can be used to make graphical treatment of information in relationship with databases.
Figure 1 : schema of an individual
Eric Dean Rasmussen - 27.01.2011 - 15:29
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The Aesthetics of Materiality in Electronic Literature
According to the French author and theoretician Jean-Pierre Balpe, “all digital art works are first conceived outside the framework of a pragmatic relation to materiality. Any manifestation of digital art is but a simulated moment of an absent matter.”
However, I wish to show that there is at least as much materiality in the digital media as in other media. Of course, as a formal description, digital and material can be distinguished. Digital media correspond to formalization, insofar as formalization is understood as the modelling of a given reality through the use of a formal code. But because digital media refers to the effectiveness of digital calculation, it can be considered as “material”, at least on two levels:
Eric Dean Rasmussen - 27.01.2011 - 15:39
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E-poetry: the Palpable Side of Signs
In his famous essay entitles “Linguistics and Poetics” (1958) Roman Jakobson asserted that the “[poetic function] stresses the palpable side of signs”. Paul Valéry states that “a poem […] should create the illusion of an indissoluble compound of sound and sense”.
We traditionally call poetry an artistic experience related to the word both in oral and written form, whose composition unity is the verse line (alexandrine verse, free verse, etc.). The oral medium should be normally richer. The written poetry, in fact, translated into the page only the segmental part of a text, but it is not able to show the over-segmental part as the tone, modulation, etc. However, we can say that this discrepancy has been cancelled: for instance, emphasis, oral procedure concerning duration, has its graphic form highlighted.
Eric Dean Rasmussen - 27.01.2011 - 15:55
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Electronic Literature Without a Map
The paper discusses several problems that seem to define and determine the field of electronic literature in theory and practice and suggests several strategies to remedy the situation in the spirit that is both analytical and polemical.
Electronic literature has been around at least for 50 years and many of its typical ergodic ingredients share a cultural (pre)history that reaches back to classical antiquity and beyond (I Ching). Still, the cultural, economical, educational and even literary status and visibility of electronic literature is low and obscure at best despite occasional canonisations of hypertext fiction and poetry (the works of Michael Joyce and Jim Rosenberg), literary groups such as the OuLiPo that from very early on extended their orientation beyond print literature, and the efforts of an international or semi-international organisation (ELO) to promote and preserve electronic literature - not to mention multiple and more or less influential and comprehensive theories of electronic and ergodic literature.
Eric Dean Rasmussen - 27.01.2011 - 16:03
