The Moment in Hypertext: a Brief Lexicon of Time
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Electronic Literature: Contexts and Poetics Author(S) Heckman, Davin; O'sullivan, James Publication Date 2018 Original Citation Heckman, D
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Electronic literature: contexts and poetics Author(s) Heckman, Davin; O'Sullivan, James Publication date 2018 Original citation Heckman, D. and O'Sullivan, J. (2018) 'Electronic Literature: Contexts and Poetics' In: Literary Studies in a Digital Age, New York: Modern Language Association. doi: 10.1632/lsda.2018.14 Type of publication Book chapter Link to publisher's https://dlsanthology.mla.hcommons.org/electronic-literature-contexts- version and-poetics/ http://dx.doi.org/10.17613/M6K649S3G http://dx.doi.org/10.1632/lsda.2018.14 Access to the full text of the published version may require a subscription. Rights © 2018 the authors. Published by MLA under an Attribution- ShareAlike license http://creativecommons.org/licenses/by-sa/4.0/ Item downloaded http://hdl.handle.net/10468/6275 from Downloaded on 2021-09-28T09:46:47Z 2018 Davin Heckman and James O’Sullivan, “Electronic Literature: Con... about:reader?url=https://dlsanthology.mla.hcommons.org/electronic-liter... dlsanthology.mla.hcommons.org 41-52 minutes ¶ 1 This essay is part of the third iteration of the anthology. Since public review and commentary help scholars develop their ideas, the editors hope that readers will continue to comment on the already published essay. You may also wish to read the draft essay, which underwent open review in 2017, and the project history. Introduction ¶ 2 What is electronic literature? Producing a conclusive answer requires a response to a different but related perplexity that has persisted for far longer: What is literature? For Derrida, the “institutionless institution” of literature is “a paradoxical structure,” 1 of 28 2/1/2018, 12:12 AM 2018 Davin Heckman and James O’Sullivan, “Electronic Literature: Con.. -
List of Different Digital Practices 3
Categories of Digital Poetics Practices (from the Electronic Literature Collection) http://collection.eliterature.org/1/ (Electronic Literature Collection, Vol 1) http://collection.eliterature.org/2/ (Electronic Literature Collection, Vol 2) Ambient: Work that plays by itself, meant to evoke or engage intermittent attention, as a painting or scrolling feed would; in John Cayley’s words, “a dynamic linguistic wall- hanging.” Such work does not require or particularly invite a focused reading session. Kinetic (Animated): Kinetic work is composed with moving images and/or text but is rarely an actual animated cartoon. Transclusion, Mash-Up, or Appropriation: When the supply text for a piece is not composed by the authors, but rather collected or mined from online or print sources, it is appropriated. The result of appropriation may be a “mashup,” a website or other piece of digital media that uses content from more than one source in a new configuration. Audio: Any work with an audio component, including speech, music, or sound effects. CAVE: An immersive, shared virtual reality environment created using goggles and several pairs of projectors, each pair pointing to the wall of a small room. Chatterbot/Conversational Character: A chatterbot is a computer program designed to simulate a conversation with one or more human users, usually in text. Chatterbots sometimes seem to offer intelligent responses by matching keywords in input, using statistical methods, or building models of conversation topic and emotional state. Early systems such as Eliza and Parry demonstrated that simple programs could be effective in many ways. Chatterbots may also be referred to as talk bots, chat bots, simply “bots,” or chatterboxes. -
<I>Victory Garden</I>
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 8-2012 Reading Ineffability and Realizing Tragedy in Stuart Moulthrop's Victory Garden Michael E. Gray Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons, and the Modern Literature Commons Recommended Citation Gray, Michael E., "Reading Ineffability and Realizing Tragedy in Stuart Moulthrop's Victory Garden" (2012). Masters Theses & Specialist Projects. Paper 1188. http://digitalcommons.wku.edu/theses/1188 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. READING INEFFABILITY AND REALIZING TRAGEDY IN STUART MOULTHROP’S VICTORY GARDEN A Thesis Presented to The Faculty of the Department of English Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment Of the Requirements for the Degree Master of Arts By Michael E. Gray August 2012 I would like to thank my wife, Lisa Oliver-Gray, for her steadfast support during this project. Without her love and the encouragement of my family and friends, I could not have finished. I would also like to thank my committee for their timely assistance this summer. Last, I would like to dedicate this labor to my father, Dr. Elmer Gray, who quietly models academic excellence and was excited to read a sprawling first draft. CONTENTS Introduction…………………………………………………………………………..1-30 Chapter One…………………………………………………………………………31-57 Chapter Two…………………………………………………………………………58-86 Chapter Three………………………………………………………………………87-112 Appendix: List of Screenshots...………………………………………………….113-121 Notes………………………………………………………………………………122-145 Works Cited……………………………………………………………………….146-149 iv TABLE OF FIGURES Figure 1. -
Towards a History of Electronic Literature
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 5 Article 2 Towards a History of Electronic Literature Urszula Pawlicka University of Warmińsko-Mazurski Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, Digital Humanities Commons, and the Other Arts and Humanities Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Pawlicka, Urszula. "Towards a History of Electronic Literature." CLCWeb: Comparative Literature and Culture 16.5 (2014): <https://doi.org/10.7771/1481-4374.2619> This text has been double-blind peer reviewed by 2+1 experts in the field. The above text, published by Purdue University Press ©Purdue University, has been downloaded 1359 times as of 11/ 07/19. -
Interactive Digital Narrative History, Theory and Practice
Interactive Digital Narrative History, Theory and Practice Edited by Hartmut Koenitz, Gabriele Ferri, Mads Haahr, Diğdem Sezen and Tonguç İbrahim Sezen First published 2015 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of the editor to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data [CIP data] ISBN: 978-1-138-78239-6 (hbk) ISBN: 978-1-315-76918-9 (ebk) Typeset in Sabon by codeMantra Contents Foreword ix NICK MONTFOrt Acknowledgments xv 1 Introduction: Perspectives on Interactive Digital Narrative 1 Hartmut KOENITZ, GABRIELE FERRI, MADS HAAHR, DIğDEM SEZEN AND TONGUÇ İBRAHIM SEZEN SECTION I: IDN HISTORY Introduction: A Concise History of Interactive Digital Narrative 9 -
Judy Malloy's Seat at the (Database) Table: a Feminist Reception History of Early Hypertext Literature
Portland State University PDXScholar English Faculty Publications and Presentations English 2014 Judy Malloy's Seat at the (Database) Table: A Feminist Reception History of Early Hypertext Literature Kathi Inman Berens Portland State University, [email protected] Follow this and additional works at: https://pdxscholar.library.pdx.edu/eng_fac Part of the Literature in English, North America Commons Let us know how access to this document benefits ou.y Citation Details Published as: Berens, K. I. (2014). Judy Malloy’s seat at the (database) table: A feminist reception history of early hypertext literature. Literary & Linguistic Computing, 29(3), 340–348. This Post-Print is brought to you for free and open access. It has been accepted for inclusion in English Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. [11.7.2014–6:19pm] [1–11] Paper: OP-LLCJ140037 Copyedited by: VM MANUSCRIPT CATEGORY: SHORT PAPER Judy Malloy’s seat at the (database) table: A feminist reception history of early hypertext literature AQ25 ............................................................................................................................................................ AQ3 Kathi Inman Berens Annenberg School of Communication, University of Southern AQ4 California, Los Angeles, CA, USA ....................................................................................................................................... 10 Abstract -
Benchmark Fiction: a Framework for Comparative New Media Studies
Benchmark Fiction: A Framework for Comparative New Media Studies Christy Dena Jeremy Douglass Mark Marino University of Melbourne UC Santa Barbara UC Riverside School of Creative Arts 2607 South Hall, UCSB 8325 Fordham Rd. Parkville, Australia Santa Barbara, CA 93106-3170 USA LA, CA 90045 USA [email protected] [email protected] [email protected] Abstract The underlying tenet of producing benchfic – the separation of How do we compare eliterature forms? What does it mean for a ‘form’ from ‘content’ – is highly problematic. It is difficult or work to be implemented as hypertext, interactive fiction, or impossible to pinpoint where form ends and content begins in a chatbot? "Benchmark fiction" is a methodology for creating given work, particularly artistic work designed to be experienced 'benchmarks' - sets of adaptations of the “same” eliterature content as a unified whole. Yet, with benchfic as with other processes of across different media for the purpose of comparative study. adaptation, translation and remediation, the problem of While total equivalence between the resulting 'benchfic' is determining which elements to hold constant and which to vary is impossible, praxis remains important: by creating 'equivalent' in large part the value of the undertaking. media and then critiquing them, we reveal our own definitions of In the process of producing benchfic, one’s concept of ‘form’ is media through process. Work on the first story to be formalized as one’s vision of the content takes new shape. These benchmarked, “The Lady or the Tiger” (1882) by Frank R. very formalizations may break under the weight of the creative Stockton, inspired a framework for displaying sources through experiments, testing their limitations, another goal of the Project. -
Destination Unknown: Experiments in the Network Novel
UNIVERSITY OF CINCINNATI DATE: November 25, 2002 I, Scott Rettberg , hereby submit this as part of the requirements for the degree of: Doctorate of Philosophy (Ph.D.) in: The Department of English & Comparative Literature It is entitled: Destination Unknown: Experiments in the Network Novel Approved by: Thomas LeClair, Ph.D. Joseph Tabbi, Ph.D. Norma Jenckes, Ph.D. Destination Unknown: Experiments in the Network Novel A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctorate of Philosophy (Ph.D.) in the Department of English and Comparative Literature of the College of Arts and Sciences 2003 by Scott Rettberg B.A. Coe College, 1992 M.A. Illinois State University, 1995 Committee Chair: Thomas LeClair, Ph.D. Abstract The dissertation contains two components: a critical component that examines recent experiments in writing literature specifically for the electronic media, and a creative component that includes selections from The Unknown, the hypertext novel I coauthored with William Gillespie and Dirk Stratton. In the critical component of the dissertation, I argue that the network must be understood as a writing and reading environment distinct from both print and from discrete computer applications. In the introduction, I situate recent network literature within the context of electronic literature produced prior to the launch of the World Wide Web, establish the current range of experiments in electronic literature, and explore some of the advantages and disadvantages of writing and publishing literature for the network. In the second chapter, I examine the development of the book as a technology, analyze “electronic book” distribution models, and establish the difference between the “electronic book” and “electronic literature.” In the third chapter, I interrogate the ideas of linking, nonlinearity, and referentiality. -
Twine and the Challenge to Reading
Twine and the Challenge to Reading Stuart Moulthrop University of Wisconsin-Milwaukee June, 2020 This paper is adapted from the final chapter of Twining, a book about the Twine text- gaming platform forthcoming from Amherst College Press. The book version adds a final, personal perspective omitted here for reasons of length. Twining also offers a history of the software, critical discussions of several influential Twine works, practical chapters exploring creative possibilities of the platform, and reflections and interviews of Twine developers. 1. If you can read this… In 2017 John Cayley, a field leader in digital literary arts, called for a change of direction. In a landmark article called “Aurature at the End(s) of Electronic Literature,” he proposes a turn from visible text to sound: the aural delivery of words spoken or synthesized, using emerging home entertainment platforms, so-called smart speakers like Amazon’s Echo (Cayley "Aurature"). Paradigm shifts are inevitably rivalrous. When you are trying to open a new path, it’s necessary to show the errors of other ways. Accordingly, Cayley deprecates several electronic writing practices, including some with roots in his own academic program. When he comes to the Twine writing platform, he is more skeptical than dismissive, though he raises important questions: In the case of expressive hypertext — with choose-your-own-adventure gaming capabilities — we can now point to Twine as a platform still gaining significant popularity. But will it ever end up supporting Twine-writers and designers commercially, or as prominent literary practitioners? (Cayley "Aurature" n.p.) Cayley allows that Twine is popular and becoming more so. -
The End of Books—Or Books Without End? Front.Qxd 11/15/1999 9:04 AM Page Ii Front.Qxd 11/15/1999 9:04 AM Page Iii
front.qxd 11/15/1999 9:04 AM Page i The End of Books—or Books without End? front.qxd 11/15/1999 9:04 AM Page ii front.qxd 11/15/1999 9:04 AM Page iii The End of Books—Or Books without End? Reading Interactive Narratives J. Yellowlees Douglas Ann Arbor The University of Michigan Press front.qxd 11/15/1999 9:04 AM Page iv Copyright © by the University of Michigan 2000 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2003 2002 2001 2000 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data applied for ISBN 0-472-11114-0 (cloth: alk. paper) front.qxd 11/15/1999 9:04 AM Page v Acknowledgments In 1986 John McDaid, then a fellow graduate student at New York University, suggested I meet Jay Bolter, who arrived bearing a 1.0 beta copy of Storyspace. When he opened the Storyspace demo document to show McDaid and I a cognitive map of the Iliad represented as a hypertext, my fate was clinched in under sixty seconds. I had seen the future, and it consisted of places, paths, links, cognitive maps, and a copy of afternoon, a story, which Jay also gave us. -
When Not All Papers Are Paper: a Case Study in Digital Archivy Catherine Stollar Peters University of Texas Austin
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@Kennesaw State University Provenance, Journal of the Society of Georgia Archivists Volume 24 | Number 1 Article 3 January 2006 When Not All Papers are Paper: A Case Study in Digital Archivy Catherine Stollar Peters University of Texas Austin Follow this and additional works at: https://digitalcommons.kennesaw.edu/provenance Part of the Archival Science Commons Recommended Citation Peters, Catherine Stollar, "When Not All Papers are Paper: A Case Study in Digital Archivy," Provenance, Journal of the Society of Georgia Archivists 24 no. 1 (2006) . Available at: https://digitalcommons.kennesaw.edu/provenance/vol24/iss1/3 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Provenance, Journal of the Society of Georgia Archivists by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. 22 PROVENANCE 2006 When Not All Papers Are Paper: A Case Study in Digital Archivy Catherine Stollar Peters INTRODUCTION Hypertext poet Deena Larsen is worried about the po- tential loss of her digital poetry, but she has a plan to save it. In a 2004 article, “The Uncertain Fate of Scholarly Artifacts in a Digital Age,” Larsen revealed her plans for preserving her hypertext work Marble Springs.1 “Ms. Larsen started collecting old Macintosh computers so people will always be able to read Marble Springs in its original format. She has 100 computers in her two-bedroom apartment.” Although Larsen’s two-bedroom mausoleum of circa 1990s technology is one strategy for sav- ing born-digital hypertext works, it is probably not the best. -
Patterns of Hypertext
PATTERNS OF HYPERTEXT Mark Bernstein Eastgate Systems, Inc. 134 Main Street Watertown MA 02 172 USA Tel: l-617-924-9044 E-mail: [email protected] ABSTRACT Since large linked constructs cannot be wished away, it is The apparent unruliness of contemporary hypertexts arises, time to develop a vocabulary of concepts and structures that in part, from our lack of a vocabulary to describe hypertext will let us understand the way today’s hypertexts and Web structures. From observation of a variety of actual sites work. Progress in the craft of writing depends, in part, hypertexts, we identify a variety of common structural on analysis and discussion of the best existing work. An patterns that may prove useful for description, analysis, and appropriate vocabulary will allow us both to discern and to perhaps for design of complex hypertexts. These patterns discuss patterns in hypertexts that may otherwise seem an include: impenetrable tangle or arbitrary morass. The reader’s experience of many complex hypertexts is not one of Cycle chaotic disorder, even though we cannot yet describe that Counterpoint structure concisely; the problem is not that the hypertexts Mirrorworld lack structure but rather that we lack words to describe it. Tangle Sieve LOOKING FOR PATTERNS This paper describes a variety of patterns of linkage Montage observed in actual hypertexts. Hypertext structure does not Split/Join reside exclusively in the topology of links nor in the Missing Link language of individual nodes, and so we must work toward Feint a pattern language through both topological and rhetorical observation. Instances of these patterns typically range in scope from a handful of nodes and links to a few hundred.