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Description: A number of multilinear Web Fictions, Poetry and Hypermedia works: Narratives with text, image, and sound. The collection includes Coverley's "Fingerprints on Digital Glass"- eight short web stories of altered perception as well as "The Magic Millennium CyberCarpet", a story that goes backward and forward in time. The Webpage links also to works created in collaboration with other artists and to Coverley's Academic Pages that include interviews, articles, and Web-Non Fiction having to do with electronic literature. Entry drafted by: Patricia Tomaszek
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Subject: poetry, fiction , hypermedia, sound
Creator: Marjorie Coverley Luesebrink/ M.D. Coverley
Collector: ELO
Description: Shawn Rider's "So Random" consists of a short hypertext narrative of a bus ride told from several different points of view. Each time a reader accesses the work, an instantiation of it is assembled from chunks of text based on tags assigned to each section. For a piece of electronic literature, the work has a conservative visual presentation. Each version consists of three pages that resemble the appearance of text in a word processing program. The reader has the option of reading the pages consecutively or of clicking on words to generate an entirely new three-page version of the work. With relatively few options, the reader is at the mercy of the algorithm assembling the text, and without access to the logic of the text selection, the work feels "so random." Entry drafted by: Ben Underwood
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Subject: hypertext, fiction , Anthologies, algorithm
Creator: Shawn Rider
Collector: ELO
Description: Kind of Blue, while a complete email novel or "chatmail", is the latter element of a two-part email fiction project began by Rob Wittig in his Blue Company project. According to the Blue Company description, Rettberg "missed the daily installments in his inbox to the point that he began to compose and e-mail a response, a sequel, a rebuttal...in which the characters of Blue Company are re-cast and re-imagined." The novel consists of a series of emails sent among the characters, beginning with an unlikely romance and darkening to a murder investigation. The structure of the novel is fairly simple: the reader first encounters a hyperlinked list of the emails in chronological order, which serves as a table of contents. Clicking on any link takes the reader through to that email, a pale blue frame with black text, laid out over a royal blue background. The emails themselves contain no links or clickable options, save buttons to move to the previous email or the next email (which subtly directs the reader to move through the email lexias in order), or to return to the "Inbox". There are no attachments or links to external pages, keeping the reader contained within the narrative itself. The reading experience is voyeuristic: the "Inbox" could ostensibly be the reader's inbox, and these personal emails have somehow landed there for perusal. On a surface level, this visual and structural design appears to mimic the email experience that is now part of our daily existence. But on several deeper levels, the novel becomes divorced from this typical inbox feel. The reader cannot save, move, forward, or reply to these messages. They are, in a sense, artifacts, frozen. The reader can observe - again, with a voyeuristic feel, given the personal content of the emails - but cannot take part in the narrative as s/he would if this were truly an email inbox. On a textual level, Kind of Blue is a combination of the carelessly composed email, the intimately considered handwritten letter, and first person narrative that occasionally drifts into poetry, depending on the character. The longish emails are quite detailed and forthright, and display little of the editing capabilities of the email form, relying instead upon the notion that the characters are apt to hit "send" before taking a read-through, offering their thoughts in their raw form. The exposition and character revealed tend toward the first person narrative style, cut up and sent as emails. As a result, Kind of Blue merges digital communication and literary storytelling into a narrative that fits neatly into neither category, stretching the bounds of each. Entry drafted by: Lyle Skains
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Subject: fiction , chatmail, email novel
Creator: Scott Rettberg
Description: The Unknown is a collaborative hypertext novel written on the World Wide Web during the turn of the millennium. It is a text about a book tour that takes on the excesses of a rock tour. The work is notorious for breaking the "comedy barrier" in electronic literature, replacing the pretentious modernism and self-consciousness of previous hypertext works with a pretentious postmodernism and self-absorption that is more satirical in nature. The Unknown includes several sections or "lines" of content including a sickeningly decadent hypertext novel, metafictional bullshit, documentary material, correspondence, art projects, documentation of live readings, a press kit, and more. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, network novel, encyclopedic, metafiction, comedy, collaborative, postmodern, fiction , parody/satire, html/dhtml, network forms
Creator: William Gillespie, Frank Marquardt, Scott Rettberg, Dirk Stratton
Collector: ELO
Description: l0ve0ne is a hypertext of 129 lexias and was the first selection in the Eastgate Web Workshop. The text is the diary of a hacker and WebMOO aficionado, Gweneth, and recounts her relationship with a German hacker named Gunter. The text explores the possibilities of emotional, sexual, and even human relationships in a world augmented by and through mediated computer technologies. In reading Gweneth's experiences as she travels across the United States and Europe with and looking for Gunter--who might be posing as his own cousin, Stefan, and consequently remains an unstable and mysterious figure throughout the text--one is reminded of Thomas Pynchon's novel V. Even more like V. herself, however, is the character Aimee. She first appears (depending on the order in which you read the text) as a non-player character (NPC)in a game being designed by the German hacker collective Schinkenbrotchen. Surprisingly, Gweneth later meets Aimee in the flesh and learns that she might have stolen Gunter/Stefan away from Gweneth. The indeterminacy of these characters, the unending search for them, as well as the machine-augmented bodies and sexuality of the characters seems to descend from Pynchon's frequent concerns. One of the first hypertexts written for the World Wide Web, l0ve0ne consists of white text against a black, blue, green, or red background; the black background is most frequent. The links are not words within the text but are rather underscored gaps that appear within the passages. The text can be read with or without frames, and the choice determines with which lexia the text opens. l0ve0ne's last lexia, "reset," directs the reader to another Malloy hypertext, The Roar of Destiny Emanated from the Refrigerator. Entry drafted by: Brian Croxall
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Subject: hypertext, fiction , html/dhtml, cyberculture, webfiction, codework
Creator: Judy Malloy
Collector: ELO
Description: A multimedia online novel in three episodes set in China, Italy, and Russia, featuring a girl growing up in the 21st century. The episodes are part comic book, part animation, and part film, in a style intended to suggest Alice's developing career as an animator. Reader participation and interactivity increase as the series progresses, reflecting Alice's engagement and influence in her environment as she grows older. Episodes become more complex and the reader is asked to unravel riddles which become progressively more intricate. This way, Inanimate Alice has a game-like character but it also resembles theater, the coming-of-age novel, and the graphic novel. Entry drafted by: Patricia Tomaszek
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Subject: flash, fiction , interactive, Animation/Kinetic, collaboration, electronic music, video, graphic novel
Creator: Kate Pullinger, Chris Joseph
Collector: Electronic Literature Organization
Description: Urs Schreiber’s Java-based German Internet opus Das Epos der Maschine ("Machine Epic") epitomizes the control of the "machine" over its user both practically and (meta-) theoretically. As the title suggests, the text regards itself as a poem of epic dimensions, i.e. poetic narrative that acts as a symbol of an entire national or, as in the case of the Internet, virtual paradigm. In other words, Schreiber positions his work in the tradition of the great ethnic and religious epics (e.g. Homer’s Iliad and Odyssey, the Nibelungenlied and Milton’s Paradise Lost). By the same token, it follows in the tradition of concrete poetry, which critically and playfully reflects on language itself as well as its inextricable determination by the medium in which it appears. The Epos is a joint venture. Text and programming were done by Urs Schreiber, the graphics by Kai Jelinek and Cesare Wosko, the photographs by Claudia König, and the sound by Die with Dignity. (...) Read the entire elit work article by Astrid Ensslin at: http://directory.eliterature.org/node/314
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Subject: poetry, fiction , cybertext, sound, epic, machine control, multimodal, narrative
Creator: Urs Schreiber
Collector: Patricia Tomaszek
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: Like Nabokov in Pale Fire, Holeton presents a metafictional parodic exegesis on the academic discourse of early hypertext criticism. Designed in the form of a hypertextual FAQ webpage document, Holeton's short fiction emanates from a poem composed of anagrams of the word "hypertext". Clicking on links produces tongue-in-cheek interpretations of the fictional poem along with perspectives on Language Poetry, cultural studies, feminism, and transgender studies. Nine answers to frequently asked questions offer up "the story with the fan fiction and the double murder." Entry drafted by: Patrricia Tomaszek
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Subject: hypertext, network forms, fiction , html/dhtml, parody/satire
Creator: Richard Holeton
Collector: ELO
Description: In the Web's first hypertext novel Bobby Rabyd [Robert Arellano] explores the pop-cultural shadow-side of 1969 -- from the moon landing to the Manson murders, from a Vietnam veteran's PTSD to a rock star's idolatry, from the love-in at Woodstock to the murder at Altamont -- by relating intermixed stories and emphazising graphics and music. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, graphic, audio, fiction , html, historical, novel
Publisher: Robert Arellano
Collector: ELO
Description: Rob Swigart's "About Time" is a web-based digital fiction that juxtaposes two temporally remote narrative strands. One involves an aboriginal named Mouth with a penchant for exploration and discovery; the other tells of Crockford ("Cro") de Granville, a voracious business mogul who heads the Institute for Cognitive Emergence. Mouth's present is 40,000 years before de Granville's, which is described as the "present day" but appears much more like a mildly dystopic near-future, where a pretentious and egotistical de Granville "skinny-casts" his clients to secure their popular and financial support. Mouth likewise spends his time trying to convince his dull cousin, Tuber, of a world much larger and more complex than their current way of life would allow them to grasp. Thus both Mouth and de Granville conspicuously crave knowledge, but for vastly different ends. Using Flash animation software, "About Time" incorporates both sound and images, but relies on the primacy of the text for its dramatic and aesthetic effect. Composer and performer Allen Strange is credited with the "sound design," which includes introductory music for the text as a whole, musical effects for many of the episodes, and voice-over audio for some of the interactive media elements. The subtitle of the work, "A Digital Interactive Hypertext Fiction, Two Braided Parallel Paths, A Double Helix," is a fairly accurate comment on the structural composition of the text. The navigation is organized in two ways. Each page contains a sidebar menu of links to individual narrative scenes or episodes. In addition, the body text of each episode is populated with a number of links. These links will either open other textual episodes (color-coded by blue text) or, in the de Granville strand, open small windows containing media elements that are typically images with voice-over audio (color-coded red). The result is a reading environment that accommodates a linear, hierarchical reading - from the top of each menu to the bottom - as well as the ability to traverse the lateral linkages. A further navigational element joins the two "parallel" narrative paths, effectively braiding the text into its "double helix" composition: a dynamic image sits at the foot of each sidebar menu. For "Mouth's Journey" it is a futuristic-looking glass sphere in rotation; for "The de Granville Files," it is a rather austere skin of water that ripples in perfect red spheres with the perpetual disturbance of a single droplet, against what could also be a background of screen static. This is the portal between the Mouth's world and that of Cro de Granville, and for the reader a way to not simply imagine two disparate realms but, in effect, experience them in striking and eerie proximity. This is a work about two "times" that are, on the surface, far removed, but nevertheless continually bumping up against one another. The result is a telling commentary on human nature and its "progress" through the ages refracted through the juxtaposition of the two anchoring characters, along with a commentary on a topic toward which all narratives tend - the nature of time itself. Entry drafted by: David Ciccoricco
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Subject: Flash, Animation/Kinetic, fiction , hypermedia, animation, network forms, narrative
Creator: Rob Swigart
Collector: Patricia Tomaszek
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
Page 1 of 1 (12 Total Results)
