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Description: A visual index, with a paragraph of description, of each of Jason Nelson's work. Scrolling from the bottom of the page to the top lets one view the artist's work chronologically from 2001 to the present, offering one potential trajectory for the field development as a whole, spanning hypertexts, short fictions, poems, haikus, games, all of which are computer generated and include image in combination with multimedia elements, code, text, and sound. Browsing the collection means witnessing the ways electronic literature involves readers and shows the potential for involving programming and multimedial devices and embedded text as in, for example the flash-based work titled, "this will be the end of you: play4: within within." Here, holding the mouse allows the user to move "into words" and to play with text as it emerges. Readers control the movement on the interface by holding or releasing the mouse and can thereby determine the mouse driven fly through of texts and images that float towards or away from the user. Or the work, "game, game, game and again game" which uses the a side scrolling gaming interface to navigate through a mix of poetics content and corresponding hand-drawn elements. This play, either literal or through interface serves as a metaphor of what Nelson wishes to transfer with the artwork: some scattered [imaginations, some] oddly organized fire of thoughts and incomplete ideas" or simply a comment on the internet and its nonlinearity and the new possibilities of digital poetics. Entry drafted by: Patricia Tomaszek
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Subject: hypertext , flash , generative, audio, animation, textual instrument, net art, digital poetics, poetry, network forms, combinatorial, interactive, visual poetry, fiction, appropriated texts
Creator: Jason Nelson
Collector: ELO
Description: "Voyage into the Unknown" by Roderick Coover is an historical non-fiction hypertext about the first geographic expedition down the Colorado River in 1869. The three-month journey was led by John Wesley Powell who, with his eight fellow boatmen, departed from Green River City in northern Utah towards the Gulf of California. Coover investigates in the question of how we come to know and imagine an "unknown territory" and provides the answer with the navigational technique he applies in his work: an interactive panoramic environment with a digitally re-worked map of the journey, in which the user navigates though the desert landscape using a seamless, horizontally scrolling interface. The reader, who takes the perspective of crew member George Bradley, faces an unknown literary space he can choose to explore in several different ways. He can either use red arrows to move back and forth within the landscape or use the "key" numbered from one to twenty that recalls a chapter-like navigation. In order to "read the unknown territory", the user is forced to explore the map that is marked with points of interest. These markers (abbreviations that are explained in an introductory agenda at the beginning of the piece) work like hyperlinks that, once activated, name places passed, people the group met or events they experienced. A diary-like narrative unfolds in short excerpts of texts that reveal what happend when the crew was declared dead and how they managed to survive in "the darkest hour" when subsistences decreased each day. The narrative is contested with researched facts that interwine with actual diary accounts and works by John Wesley Powell, along with additional publications by other crew members (George Bradley, John Sumner, and Frederick Dellenbaugh). Coover also integrates primary visual works by E.O. Beaman, John Hillers, and Thomas Moran with new and original writing, artwork, and interactive devices. Entry drafted by: Patricia Tomaszek
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Subject: hypertext , Flash , nonfiction, historical
Creator: Roderick Coover
Collector: ELO
Description: These Waves of Girls is a hypermedia novella exploring memory, girlhoods, cruelty, childhood play, and lesbian sexuality. The piece is composed as a series of small stories, artifacts, interconnections, and meditations from the point of view of a girl (or girls) at various ages from four to twenty. Fisher's work is distinct for its hypermedia features: each text passage is illustrated by new images and therefore presents a new interface for each chunk of text, some passages are read by the author. On the level of content, the story's characters try to find and come to terms with their sexuality. Figuratively, this construction of self is mirrored in the hypertextual structure Fisher makes use of: The reader witnesses the characters' identity construction by following one link after the other, coming closer to what identity means to the stories' characters': "We've all been fifteen. I look very much the same, only at fifteen I'm a little larger, a little stronger. I'll believe anything. I tell people I believe nothing." Entry drafted by: Patricia Tomaszek
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Subject: hypertext , flash , women authors, audio, fiction, dhtml, html, sexuality, memoir
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