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Collection: Electronic Literature: Individual Works
Description: Barry Smylie’s “1969/99” features multiple hyperlinked web pages and flash animation. When viewed in Internet Explorer, the user can reveal superimposed text by mousing over images. It is dominated by graphics and sound from popular culture of the 1960s and 1990s. In particular, “1969/99” draws heavily on the themes and images of Fail Safe (1962) by Eugene Burdick and Harvey Wheeler, in which machine malfunctions and humanity’s blind faith in the infallibility of technology accidentally cause a nuclear war. Burdick and Wheeler’s book was adapted for film in 1964 and for television in 2000. Created during the Y2K frenzy, “1969/99” offers a complex (and sometimes comic) cultural commentary and comparison between Cold War America and that of the Millennium. For example, one page titled "the b52s" juxtaposes images of a B-52 strategic bomber with those of the New Wave band The B-52s. The B-52s song "Meet the Flintstones" is the featured audio track on another page, "evolution," where the cartoon images of the Flintstones (1960-66) are superimposed on the cast photo of The Flintstones Movie (1994). In “beatitude,” Smylie quotes from Allan Ginsberg’s “Howl,” “I saw the best minds of my generation,” while the soundtrack repeats “starving, hysterical, naked,” thus leaving the user to fill in the omitted portion of the line “destroyed by madness.” Entry drafted by: Crystal Alberts
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Subject: Flash, html/dhtml, audio
Creator: Barry Smylie
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: A literary web journal (1998-2002) publishing hypertext and hypermedia fiction, poetry, and theory along with interviews with artists and theorists. ISSN: 1528-8102. Entry drafted by: Joseph Tabbi
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Subject: theory, hypertext, hypermedia, fiction, Critical/philosophical, literary journal, poetry, scholarly essays
Collection: Electronic Literature: Individual Works
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
Collection: Electronic Literature: Individual Works
Description: In Errand, animation is used to establish links and disjunctions between images of moving objects in the natural world (e.g. frogs and butterflies) and the lexical and figural dynamics of the poem. These visual-kinetic images heighten the tensions among the meaning-mobilizing acts of "seeing an image," "watching a movement," and "reading a word"; and insofar as these works also employ cursor-activated elements, between "touching" and "reading." Errand reflects on the nature of language and of reading, and these self-reflexive elements are embedded in considerations of how protocols of reading shape our consciousness. In calling attention to gaps between "movement" and "meaning," between "reading" and "acting," Errand grounds its kinetic poetics in concerns of ethics and cultural politics. Entry drafted by: Patricia Tomaszek
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Subject: shockwave, women authors, animation, collaborative, interactive, visual poetry, textual instrument, kinetic text, poetry
Creator: Stephanie Strickland, M.D. Coverley
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: The Electronic Literature Collection is a periodical publication of current and older electronic literature in a form suitable for individual, public library, and classroom use. Published by the Electronic Literature Organization. The publication is available both online at the ELO site and as a packaged, cross-platform CD-ROM. The collection includes author, title, and keyword indexes. Entry drafted by: Patricia Tomaszek
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Subject: Journal, ELO, Collection of Work
Creator: The Electronic Literature Organization
Publisher: N. Katherine Hayles, Nick Montfort, Scott Rettberg, Stephanie Strickland
Language: English, French
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: A poem with pictures and audio components whose words, composed and presented by Phillipe Bootz, are reworked by the computer freshly each time the piece is launched. The textual elements appear as animated letters on the surface of a shockwave based picture, whose surface (like the superimposed letters) is also changing. This textual and visual flow is accompanied by sound that seems to go in synch with the entire composition but which is, in fact, also part of the programming. Bootz addresses the work both to a reader for the multimedia components and to a "meta-reader" whose reading accomplishment can be widened by exploring the code. Bootz holds that "reading is a limited activity that is unable to give a complete knowing of the work." A translation from the French is given on a separate page, its content responds to what is seen and experienced by the reader. Entry drafted by: Patricia Tomaszek
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Subject: music, multilingual or Non-English, shockwave, combinatorial, generative, audio, Animation/Kinetic, Collaboration
Collection: Electronic Literature: Individual Works
Description: As the author writes in an introduction to the piece, "Lexia to Perplexia" (2001) began as an observation of the fluctuating and ever-evolving protocols and prefixes of internet technology as applied to literary hypermedia. As well, "Lexia to Perplexia" was originally meant as a critique of both the Author and User/Reader positions in relation to web-based literary content." That is, the reader will notice that in all four sections of the work – "The Process of Attachment," "Double-Funnels," "Metastrophe," and "Exe.termination" -- "Lexia to Perplexia" makes wide use of neologisms as a means of presenting, in Katherine Hayles´ words, "a set of interrelated speculations about the future (and past) of human-intelligent machine interactions, along with extensive resinscriptions of human subjectivity and the human body" (Writing Machines 49). However, the text is performed not only linguistically, but also narratively and visually. Narratively, Memmott alludes to classical literary references ranging from ancient Greek and Egyptian myth to postmodern literary theory reflecting on humans, technologies, and their collaborative agency. Visually, the work makes use of interactive features which override the source text, leading to a fragmentary reading experience. The functioning and malfunctioning of the interface itself carries as much meaning as the words and images that compose the text. As Memmott also instructs his readers to note, the "User/Reader of this piece…encounters a number of screens that appear simple upon access. As the User/Reader interacts with the presented objects -- images, textual fragments, various UI permutations -- the screens are made more." Entry drafted by: Lori Emerson
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Subject: Animation/Kinetic, textual instrument
Creator: Talan Memmott
Collector: ELO
Collection: Electronic Literature: Context
Description: The group blog is about computer mediated and computer generated works of many forms: interactive fiction, net.art, electronic poetry, interactive drama, hypertext fiction, computer games of all sorts, shared virtual environments, and more. Contributors work as both theorists and developers, and are interested in authorship, design, and technology, as well as issues of interaction and reception. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, computer games, events, interactive fiction, news, interactive drama, reviews, virtual environments, poetry, blog
Creator: Mary Flanagan, Michael Mateas, Nick Montfort, Scott Rettberg, Andrew Stern, Noah Wardrip-Fruin
Language: English
Collector: ELO
Collection: Electronic Literature: Context
Description: A journal on Net Art with reference and application to electronic literature. IASL started as a print journal and now takes advantage of online network communication, publishing electronically and free of charge since 1999. As an academic forum, the journal includes both theoretical accounts and artist statements concerning Hyperfiction and Hypermedia. Descriptions of artist projects fall under three categories: "Tips," "Collected Tips," and "Short Tips." Here, one finds discussions on early experiments in electronic writing, ranging from Douglas Davis, "The World´s First Collaborative Sentence" (1994) to Talan Memmott, "Lexia to Perplexia" (2004). The journal appears in irregular intervals and has been available in English translation since August 2003. ISSN: 1612-0442. Entry drafted by: Patricia Tomaszek
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Subject: criticism, context, hypermedia, net art, electronic writing
Publisher: Thomas Dreher
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: A community site devoted to interactive fiction. Registration enables users to recommend, rate, and review downloadable games both freely and commercially available. Members retain their copyright of anything they wish to upload, under a Creative Commons licence (Attribution 3.0). Game details appear along with descriptive tags, and these can be used to search for other games that can be similarly described. IFDB is a collaborative place for sharing games and also for getting person-to-person recommendations. When this description was written, the database included 3084 game listings, 293 registered members and 262 member reviews. Entry drafted by: Patricia Tomaszek
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Subject: community, interactive fiction, games, wiki
Publisher: Michael J. Roberts
Collector: ELO
Collection: Electronic Literature: Context
Description: Description The New Media Poetry and Poetics issue of Leonardo Electronic Almanac gathers in one location many of the major practitioners of electronic literature, circa 2005-2006. Emphasis on writing in networked and programmable media. The authors set out in this issue to perform critical readings of new media poems through various approaches and contexts, so as to define new media poetry and measure the extent to which digital media necessitate a re-assessment of writing generally. A number of critical readings address the role of code in electronic literature (a topic also featured since 1998 in ebr, www.electronicbookreview.com). A frequent argument, is that poems derive meaning from their own precarious existence in networked language environments. The interplay between traditional and digital poetics allows us to see continuities and differences between digital media and earlier modes of innovative writing, notably in the way that certain poets have transformed their concrete poems into "new media" versions. Entry drafted by: Patricia Tomaszek
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Publisher: Tim Peterson, Nisar Keshvani, The MIT Press
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: Readers of print conventionally ignore the page surface so as to concentrate on interpreting what is printed there; in "open.ended," by contrast, surfaces are integral. Readers interact with lines of poetry that appearon two translucent shapes - one nested within the other. Because words on the inner shape are visible through the outer one, the printed lines can be read together or separately. The number of possible surface/text combinations is limited, but by merging shapes a surprising range of new stanzas can result. The reader can also control her angle of view so that more than one surface is visible, though all the words may not be legible. As the surfaces obscure the words, the materiality of the digital shapes overcomes linguistic signification. This phenomenon of surface overcoming text also occurs when the shapes overlap and obscure portions of the text. "open.ended" amounts to a poem without beginning or end since one does not move through the text in any predetermined order, yet the poetic object has boundaries delimited by the eight rotating surfaces. The reader's interaction with the shifting text is augmented--and usefully constrained--by an audio track of the author reading so that we, reading to ourselves, are reminded of lines from the poem we have already encountered, or we are given a preview of text to come. Despite the literal instability of the moving text, the audio track is the same each time, which lends consistency to repeated readings. Entry drafted by: Ben Underwood
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Subject: poetry, flash, audio, interactive, 3D, spatialization
Creator: Aya Karpinska, Daniel C. Howe
Collector: ELO
Collection: Electronic Literature: Context
Description: Where texts interrelate with image, sound, and video, readers of electronic literature can witness linguistic transformations, unfamiliar arrangements of signifiers and what is signified. In his practice as a professional artist, teacher, and researcher, Seaman interests himself in image-music-text relations that, to his mind, act to generate meaning as "language-vehicles." "Recombinant Poetics" integrates a number of disciplines into literary, artistic, musical, technological, scientific, and philosophical perspectives. Seaman's semiotic and linguistic approach has numerous points of contact with work in electronic literature, not least his involvement with combinatoric methods and Oulipian writing under constraint. The Page provides academic essays as well as poetic texts. Entry drafted by: Patricia Tomaszek
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Creator: Bill Seaman
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: The Iowa Review Web’s issue on “Instruments and Playable Text” (published in July 2008, guest edited by Stuart Moulthroup) features seven poetic and narrative works by six authors concerned with writing at the level of interface and code. The featured works (by Judy Malloy, John Cayley, Nick Montfort, Shawn Rider, Elizabeth Knipe, and the editor himself) all explore operations of permutation, chance, and remixing prompted by the reader’s actions. These programmed digital works invite readers to engage in the (literary) play indeed, reading and play in these texts are inseparable. Readerly actions include clicking on images and texts in Malloy’s Concerto for Narrative Data to invoke voices and texts to appear in various formations and juxtapositions. In Nick Montfort’s The Purpling, color-coding and clickable text chunks cause the poem to gradually change into different texts. John Cayley’s riverIsland employs navigation via images, via clickable icons, or by dragging QuickTime images, to access 32 poems reflecting on nature, translation, and language. Both Elizabeth Knipe’s activeReader and Shawn Rider’s two works, So Random and PiTP, invite the reader to enter texts of their own. Finally, Moulthrop’s polyphonic Under Language mixes written text with spoken words and sounds as the reader clicks on the interface’s icons and texts. In this work, as in Cayley's riverIsland, sounds and spoken words also engage the reader as a listener. Different kinds of play, interaction, and participation are juxtaposed with the more standard ways of intellectually engaging with a literary work. Along with the works, The Iowa Review Web issue includes an editor’s introduction and statements by many of the featured artists/authors. Entry drafted by: Maria Engberg
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Subject: Quick Time, poetry, combinatorial, textual instrument, fiction, Critical/philosophical, women authors, html/dhtml, procedural, java, constraint-based, action script
Publisher: Stuart Moulthrop, Jon Winet, Mark NeuCollins
Collector: ELO
Collection: Electronic Literature: Individual Works
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
Collection: Electronic Literature: Individual Works
Description: slippingglimpse is a 10-part generative Flash poem combining videos of ocean patterns with text. The work introduces three modes of reading: fullscreen, high resolution, and scroll-text mode. In the first two modes, fragments of words and phrases appear in the ocean, mapped and remapped to movement in the video image, turning from an unreadable text to a decipherable composition. In fullscreen mode, ocean videos "read" the poem text somatically or gesturally. In high-rez mode, the ocean-patterning itself is best visible, those patterns the videographer set out to capture and enhance. Only the scroll-text mode permits human reading of linear print text. The language of the poem comes in part from sampling and recombining the words of visual artists as they reflect on their own work (among them, Helaman Ferguson, Manfred Mohr, David Berg, Ellen Carey, Frances Dose, Marius Johnston, Jon Lybrook, Susan Rankaitis, Hildegard of Bingen). Entry drafted by: Patricia Tomaszek
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Subject: flash, collaborative, kinetic text, poetry, women authors, visual poetry, video
Collection: Electronic Literature: Collections of Works
Description: From 1999-2004 the frAme Journal of Culture & Technology was published by the trAce Online Writing Centre at The Nottingham Trent University, England. Twice a year frAme published creative work and critical commentary on new media writing with contributions by artists and researchers dealing with digital culture. ISSN number: 1470-2134. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, criticism, flash, cyberculture, art, essays, interviews, poetry, journal, digital art, fiction, html
Collection: Electronic Literature: Collections of Works
Description: The first gallery of new media art to showcase an international collection of born-digital art and literature by women artists from around the globe. It includes links to author pages and more than 300 works of born-digital literature. In reference to Derrida, this page is an 'assemblage,' a multiplicity, a coming together of languages, skills, and visions, a collection of art texts, and an exhibit showing the act of fitting disparate pieces together under the umbrella of gender. Entry drafted by: Patricia Tomaszek
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Subject: hypermedia, flash, visual poetry, net art, kinetic text, Collection of Work, video
Creator: Carolyn Guertin
Publisher: trAce Online Writing Centre, Nottingham Trent University, UK
Language: English, Multilingual
Collector: ELO
Collection: Electronic Literature: Individual Works
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
Collection: Electronic Literature: Individual Works
Description: Arteroids is a literary shoot-em-up poem-game for the Web. The battle of poetry against itself and the forces of dullness. Pilot your red id-entity text against poetry and the forces of dullness. Winner takes wall. Write your own texts in Word for Weirdos. Save poetry from yourself. Game mode or play mode. Play for life and death in game mode. Shoot for art in play mode. Go on. I dare you. Entry drafted by: Scott Rettberg
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Subject: cybertext, poetry, shockwave, animation, interactive, software, digital poetics, digital art, audio, hypermedia, kinetic, game
Creator: Jim Andrews
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: "The Jew's Daughter" is an interactive, non-linear, multivalent narrative. A hypertext, but one that transforms the text (rather than just linking from one stable text to another). As soon as the reader moves the mouse over highlighted keywords (links), segments of a page replace one another fluidly. While always remaining syntactically and semantically intact, passages are replaced by a new text within a static rectangular text-space. The work's content corresponds to the unstable form: Characters, for example, are not fixed identities; they can be, by turns, contemporary and historical. The algorithmic text generation calls on readers to explore a text that changes with the addition or deletion of passages at random throughout the narrative. By placing authors and readers in direct relation to machine-generated text, this piece has helped ground debates on electronic literature. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, collaboration, interactive, generative text, html/dhtml
Collection: Electronic Literature: Collections of Works
Description: Founded as a 501(c)3 non-profit organization in 1996, Born is dedicated to the emergence of literary media arts. The magazine provides a platform for collaboration among writers, artists, and others from diverse fields (programmers, musicians, and designers). Submissions can be sent either to the "Birthing Room" or the "Just born" section. The first category features experiments in storytelling. Teams conceive the ground rules for the work and create the final project. The "Just born" section features interpretations while providing both the original static text and the dynamic outcome - after input from the designer. Through such collaboration, a static text becomes literature created in programmable media. Born magazine is unique, in making the process available as well as the products of writingdesign collaborations. Works published quarterly. Entry drafted by: Patricia Tomaszek
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Publisher: Anmarie Trimble
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: Australian e-journal devoted to multimedia composition and innovative writing. Showcased work brings together text, visual images, and sound. The editors have a special interest in encouraging on-the-page writers to adopt electronic and multimedia formats, and efforts are made to faciliate collaborations among writers and artists working in various disciplines. infLect is divided into volumes, but work appears continuously as it is received and accepted. Work is selected by invitation only. The not-for-profit journal was founded in 2004 and is based in the School of Creative Communication, University of Canberra. Entry drafted by: Patricia Tomaszek
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Publisher: Hazel Smith (2004-2007)
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: Presenting works of electronic literature along with artist biographies, New River publishes twice a year (December and May, since 1996). One of the issues is managed and edited by grad students from Virginia Tech's MFA Creative Writing Program in the College of Liberal Arts and Human Sciences. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, digital writing, electronic literature, fiction, html, flash, journal, reviews, poetry, art
Publisher: Ed Falco
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: "Roulette" is a language game for readers, a single work that can be read in roughly 64,000 ways. The lines of the poem shift every time you interact with one of the three lines of the poem. By clicking and holding a block for a few moments, the reader can activate a change in the text. Only one line of the poem changes at a time, so the two stable lines give a context for the altered one, a background against which alternative meanings are generated. Those other lines can then be altered in turn. The work appears clothed in an endless night sky that foregrounds rotating, colorful cubic containers, each one containing smaller rotating cubes. From there, from out of the cubes, the word emerges along with background music that calls to mind a night out at the casino. The poetic content concerns philosophical questions concerning life, relationships, and language, and at times seems to generate a meta-commentary on randomness and the work itself. Entry drafted by: Patricia Tomaszek
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Creator: Bebe Molina, Daniel Howe
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: This Flash-based creation encompasses a series of 3 prose poems that gradually dissolve (in animated sequences) to reveal poems "hidden" within them. Each of three initial block texts can be read sequentially; however, the essence of this piece is the way letters fly from those initial texts to reveal the hidden poems. Each of these three initial texts have two poems "embedded" in them. At first, the remaining letters remain in place, like the buildings that survived the earthquake. On subsequent pages, these characters close ranks to form the words of the embedded poems. Additionally, each surviving letter casts off versions of itself which fall down the surface of the poem, colliding with other cast-off versions and forming alternate unused words which stack up in a heap below the poem. Thematically, the pieces bring together the "famous occult associations of the European mandrake" with the American one (mayapple). The poems play with the rhizomatic nature of roots and rhizomes of literary allusions. Readers cannot uproot these mandrakes without being caught in the underground tangle of sex, death, and renewal. Entry drafted by: Mark C. Marino
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Creator: Oni Buchnan
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: The only trace left of Anna, a freshman at the University of California, Berkeley, is an open internet connection in the computer in her neatly furnished dorm room. Deena Larsen invites readers to join four generations of a Japanese-American family as they search for Anna and discover credit card conspiracies, ancient family truths, waterfalls that pour out of televisions, and the terrifying power of the web. The detective story unwinds, one link at a time, but even as readers explore Anna's disappearance, Larsen also orchestrates our own disappearance in the virtual reality of the internet. Hypertext links lead the reader to relevant url's on the web for actual companies and institutions (e.g., the Sheraton Hotel, or commonly encountered web pages (e.g., "Object not found"). As these real world links increasingly turn to errors, our search for Anna seems as elusive as the desire to track the Internet's ephemera. Entry drafted by: Patricia Tomaszek
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Creator: Deena Larsen
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: Dreaming Methods projects combine writing with multimedia and web-based technology. All works require Flash Player to view, some pages are only available to subscribers (subscription is free). The collection of works contains exclusive new digital fiction, galleries, critical articles on digital literature and interviews. "Writing and essays" is a section with material discussing the work featured on the Site; with explanations on how it developed and what it might mean. Also, Campbell, the editor of the page as well as users discuss showcased works in an active exhange of thoughts in the discussion forum. E-lit submissions are welcome. Entry drafted by: Patricia Tomaszek
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Subject: flash, hypermedia, audio, interactive, essays, Graphics, interviews, kinetic text, Visual poetry or Narrative
Publisher: Andy Campbell
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: The international web journal Drunken Boat publishes electronic literature and new media art; issue #8 (2006) features over 125 new media contributions of poetry, prose, photography, video, web art and sound along with artists information and an archive. Dossiers and special folios on e.g. the Canadian Strange and Oulipo are presented in elaborated analysis and give important introductions to these subjects. The journal holds an annual Panliterary Award and has appeared annually since 2000. ISSN: 1537-2812. Entry drafted by: Patricia Tomaszek
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Subject: net art, sound art, fiction, journal, video, poetry, nonfiction
Creator: Ravi Shankar
Collector: ELO
Collection: Electronic Literature: Individual Works
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
Collection: Electronic Literature: Collections of Works
Description: A collection of e-poetry and visual art gathered from 2002 until 2004. The featured works are born-digital, using software and programming to create an interface where poetry and new media come together. Through such integrations of image, sound, and text, Calvo and Valdeolmillos wish to stress the idea of poetics as a form of "re-creation." In this sense, they offer an electronic materialisation of the rhetoric figure that implies the repitition of the same: Epimone. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, Net Art, Animation/Kinetic, Interactive Fiction, Multilingual or Non-English, Generative Text, Visual poetry or Narrative, video, Poetry
Publisher: Lluís Calvo, Pedro Valdeolmillos
Collector: ELO
Collection: Electronic Literature: Context
Description: From 1999-2004 the frAme Journal of Culture & Technology was published by the trAce Online Writing Centre at The Nottingham Trent University, England. Twice a year frAme published creative work and critical commentary on new media writing with contributions by artists and researchers dealing with digital culture. ISSN number: 1470-2134. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, criticism, Journal, Flash, poetry, fiction, essays, interviews, html/dhtml, cyberculture
Publisher: Simon Mills
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: As part of the online journal Riding the Meridian, The Progressive Dinner Party invites the reader to explore thirty-nine online works by women as part of a culinary reading journey through eight different countries and four continents: Cocktails from Australia, Hors d’oeuvres from Europe, Salad from Canada, Fish from the Coasts, Entrée from the US Heartland, Dessert from the Tropics and Brandy and Coffee from New York. The website offers these tempting culinary trajectories for a transnational hypertextual and hypermedial reading experience (playing on the double-meaning of ‘menu’), as well as takes the reader through a hypertextual world map and to a virtual table, which all become an indexical transit zone for a computer-based reading journey from one electronic region of the world to another. A commentary on the collection is provided by N. Katherine Hayles and Talan Memmott. Entry drafted by: Martina Pfeiler
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Publisher: Carolyn Guertin and Marjorie Coverley Luesebrink
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: In close affiliation with Rhizomes, a parent journal of HyperRhiz, this Site hosts experimental web-based projects. HyperRhiz also provides a forum for the presentation of electronic installations, games, and performances through the use of archival video, photo, and text documentation. It is a peer-reviewed online journal of net art and electronic literature that is published twice-yearly. The journal features an integrated weblog for ongoing news of interest, an online forum for teachers of electronic literature, and a wiki for experimental writing. These features provide a forum for scholars and practitioners of new media culture. The editor's interest lies "in the genres of electronic discourse, and how these formats might affect the expression of complex discourses within new media." HyperRhiz welcomes submissions of net-ready art projects, electronic literature works, and review essays. As the journal's name suggests, works written in the spirit of Deleuzian approaches are welcomed but not required. ISSN: 1555-9351. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, context, reviews, critical essays, online forum, video
Collection: Electronic Literature: Individual Works
Description: Gabriella Infinita, a metamorphical work, is a lesson in the evolution of the internet. Three versions of the text are available: Novel, Hypertext and Hypermedia. In the tale, Gabriella arrives at the apartment of her lover, Frederico, the author, only to find him disappeared. In his stead, she has only his things, his writings, his clippings, his recordings. At the same time, in a parallel narrative, a group of people try to escape a building. They are trapped, moreso than they think, for they are characters in one of his stories. Since Rodríguez Ruiz made all of these versions available on the web (with commentaries), they serve as an excellent study in the forms themselves. In no way a lesson in progress, the adaptations and translations of his own tale reveal the strengths and limitations of these forms. Entry drafted by: Mark C. Marino
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Collection: Electronic Literature: Individual Works
Description: In Birds Singing Other Birds' Songs, a work shown as a video installation and now available as a Flash version on the Web, birds' sounds were transcribed into morphemes representing human perception of their songs. The corresponding graphemes are then animated to form the bodies of birds flying with human voices, tweaked by the computer, articulating the sounds denoted by the marks. In the complex processes of translation that the work instantiates, the human is in-mixed with nonhuman life forms to create hybrid entities that represent the conjunction of human and nonhuman ways of knowing. A reenactment of the history of literacy through different media as it moves from sounds present in the environment to written marks (orality/writing), written marks to the iconographic shapes of the animated avian bodies (writing/digital images), accompanied by the re-representation of human speech as computerized voice production (digital multimodality). Although Mencia's work can be classified as electronic literature, it is fundamentally about literacy rather than any literary form, illustrating the interrogations that the literary can undertake of the histories, contexts, and productions of literature. Entry drafted by: Patricia Tomaszek (Parts of this description are cited from "New Horizons for the Literary" by N. Katherine Hayles)
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Subject: Flash, Animation/Kinetic, audio
Creator: Maria Mencia
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: JB Wock is a self-described “english-speaking blogmachine” created by poet and programmer Eugenio Tisselli. JB Wock, a PHP script, searches the web for a phrase that it “likes” (from a site that publishes notable quotations), “twists” these phrases by substituting synonyms, and publishes the results daily on its blog (which also includes a comment feature, inviting readers to respond). Tisselli includes links to the coding of the PHP script as well as a “Computer Aided Poetry” tool which allows users to alter their own phrases using the JB Wock script. The underlying script itself is an elegant feat in constraint, while the verses that it publishes daily often have an ephemeral and absurd quality, consistent with spirit of the Oulipo movement, but also gesturing towards contemporary debates over the physiological processes of human cognition and the indeterminate character of human expression. Entry drafted by: Davin Heckman
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Subject: poetry, procedural, constraint-based, e-poetry, oulipo, php script
Creator: Eugenio Tisselli
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: The bilingual website archives a series of exhibitions of international digital poetry and international symposia which debate the poetics of digital texts. p0es1s was held in 1992 (exhibition only), 2000, 2001 and 2004 in Germany. Abstracts of conference presentations as well as critical reviews of the discussions held at the symposia are available on the site. Its exhibited works of digital poetry are accessible in the maintained online-exhibitions or through links provided at the page. Entry drafted by: Patricia Tomaszek
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Collection: Electronic Literature: Collections of Works
Description: Poems that Go was an online literary journal that showcased kinetic, digital poems quarterly from 2000-2004. The journal was motivated by the question “What makes a poem a poem?” particularly when that poem is configured in digital form that goes beyond the written word by intersecting motion, sound, image, text, and code. The site features an extensive collection of Flash-based poems that display poetry to be multimodal and excitingly experimental. Entry drafted by: Patricia Tomaszek
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Subject: new media art, Flash, Animation/Kinetic, critical essays, aesthetics, Quick Time, poetry
Collection: Electronic Literature: Individual Works
Description: Blue Company is a novel composed of email messages from Berto, a lovesick copywriter transferred to 14th Century Italy who addressed letters to his romantic correspondent in the 21st Century. People were able to subscribe to Blue Company and received email messages from Berto for a month. The novel was performed twice: once in Spring 2001 and again in Spring 2002. The 2002 performance was followed by Scott Rettberg's unauthorized continuation of the fiction. He e-mailed to many of the same Blue Company subscribers and composed "Kind of Blue." It is a sequel that re-casts the characters of Blue Company. The last letter of "Kind of Blue" was written by Rettberg and Wittig collaboratively, thus knitting the two pieces together finalizing a collaborative style of "chatmail." Entry drafted by: Patricia Tomaszek
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Subject: network forms, collaboration, visual poetry or narrative, email narrative
Creator: Rob Wittig
Collector: ELO
Collection: Electronic Literature: Individual Works
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
Collection: Electronic Literature: Individual Works
Description: On immersion in reading and its risks - where reading means, in this case, pointing and clicking on the work's interface and thereby diving, submerging, and even to risk drowning in the literary pool. The work opens with a simple proposition: "what if the pages of a book - or more accurately, the SO_CALLED PAGES OF THE WEB - were made from some pliable fluid, like water, so that we could dive gradually from one plane of presentation to the next?" The reader is presented with a structure for setting up dive points on the reading interface. At these points, the reader may hover, move to another point, or else move up or down to earn points for a successful reading approach. This kind of imersion through clicking, chosing, and wandering might be thought closer to a game than a literary text, although we have to know something about the developing text to know how to play, how "to breathe," and especially how to read inside this textual immersion. An original take on the peculiarity of electronic textuality, Deep Surface is perhaps best regarded as a textual instrument. Entry drafted by: Patricia Tomaszek
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Subject: Flash, Animation/Kinetic, textual instrument, audio, interactive, Graphics, synthetic voices
Creator: Stuart Moulthrop
Collector: ELO
Collection: Electronic Literature: Individual Works
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
Collection: Electronic Literature: Individual Works
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
Collection: Electronic Literature: Individual Works
Description: Shadows Never Sleep is the final story in a series of narratives written by Aya Karpinska, each exploring different aspects of reading using digital media. As with the prior works in the series, Shadows Never Sleep is evocative of children's stories and folk tales. The work is designed to make use of the iPhone as a storytelling platform. Rather than turning pages or selecting paths through the narrative, readers "zoom" into the story revealing new images and text. Shadows Never Sleep is divided into three "pages," each containing more panels than the prior, 1, 8, and 64 respectively. The simple black and white images are interposed with minimal text, evoking the play of light and dark, and the anthropomorphization of shadows that constitute the subject of this work. Entry drafted by: Dave Parry
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Subject: interactive, children`s stories, zoom-narrative, iphone, picture-story, classic folk tale
Creator: Aya Karpińska
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: Turbulence, a project of New Radio and Performing Arts, Inc. has commissioned 140 networked art works and hosted more than 20 distributed, real-time, multilocation performance events since 1996. An archive of these projects, including many with a strong literary focus, is maintained on the site. Entry drafted by: Patricia Tomaszek
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Subject: institutions, organization, net art, interviews, network forms
Collection: Electronic Literature: Collections of Works
Description: The journal Iowa Review Web started to publish electronic writing in 1999. It includes - along with electronic literature - other varieties of experimental writing and art, author interviews, critical articles, and essays. ISSN number: 1541-972X. Entry drafted by: Patricia Tomaszek
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Subject: theory, hypertext, criticism, essays, fiction, literary journal, interviews, reviews, poetry, art
Collection: Electronic Literature: Individual Works
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
Collection: Electronic Literature: Individual Works
Description: Jim Andrews’ “Seattle Drift” is a play on motion and stasis, surface and depth. Its initially simple presentation consists of a self-described “bad text,” a subversive poem that moves and stutters around the screen when given the instruction to do so. A series of simple controls written in Dynamic HTML allows a user to guide its movement: one is given the option to “do” the text (which makes it drift around the screen), “stop” it (which freezes the letters mid-drift), or “discipline” it (which returns the letters to their original position). Stopping and starting the text allows the user to create new linguistic and visual configurations for the poem, and this flexibility is the cause of the text’s status as “bad”—it “used to be a poem, but drifted from the scene.” The poem dares its user with a come-on—“I just want you to do me”—that complicates the supposed transparency and stasis of the traditional written word, and makes the user an accomplice in this transformation. The poem itself has the experimental, minimalist quality that characterizes much of mid-90s net art, exploring the role of particular code functions in the construction of Web aesthetics while also playing with the code’s distance from (and closeness to) the surface of the Web browser. An Easter egg awaits those curious enough to explore the source code. Entry drafted by: Rob Schoenbeck
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Subject: poetry, animation, html/dhtml
Creator: Jim Andrews
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: Beginning with the provocative epigram by Phyllis Web, “The world is round. It moves in circles,” which gives way to a minimal interface with the word “meaning” placed in the center of a black screen, Jim Andrews’ “Enigma n” is a densely packaged experiment in the potency of language. With a click of the mouse, the reader can “Prod,” “Stir,” and “Tame” the word, causing the letters to swirl chaotically around no particular center. After all the options have been selected, the reader is permitted to restore order to the word by clicking “Spell.” Conceptually, the temporal sequence (epigram, the assertion of “meaning,” the reader’s acts of disruption, culminating in a restoration of order) might be interpreted as a parable of communication, from sender to receiver. As an experience of reading, the attentive mind will seize upon the various anagrams that arrange themselves chaotically, making sense wherever it is suggested by juxtaposition. However, Andrews’ piece does not simply end with the anti-climactic, almost jarring, return to order. The intrepid reader will quickly move to prod, stir, and tame the text again, and will be rewarded with a fifth option, “0/1,” which freezes the swirling letters in space. Another click on “0/1” opens up another option “Colour,” which invites further exploration leading to a reward at the end. In its entirety, “Enigma n” is an extraordinary and deceptively simple work that offers rich rewards for those who take the time to play with it. Entry drafted by: Davin Heckman
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Subject: poetry, animation, html/dhtml, visual poetry
Creator: Jim Andrews
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: Revelations of Secret Surveillance weaves family history, fictional narrative and documentary material together in the story of German video artist Gunter and American writer Gwen. Spurred on by the discovery of a poem Gunter’s grandmother wrote in Nürnberg in 1933, they begin to explore past and present covert systems of surveillance and social control. Most of the characters in the narrative are recognizable from Malloy’s other work as is the minimalist visual layout of the epic composition, which is divided into preludes, interludes and cantos. The piece is composed as a hypertext in which the individual lexias work as independent entities. They can either be read sequentially by following the progression of the narrative (pressing the blue bar below the text), or the reading can branch out through the links (placed to the left of the interface). In this way an opaque, poetic universe is created, which questions causal relations as well as the probability of chance occurrences. The composition of the piece thus forms its own layer of reflection on the theme of covert surveillance and control. Entry drafted by: Kristin Veel
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Subject: hypertext, control, epic, surveillance
Creator: Judy Malloy
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: A collection of electronic literature from 1998 to 2004 which contains, as well, guides, syllabi, downloadable software, and commentary on electronic literature. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, electronic literature, fiction, commentary, syllabi, collection, digital poetics, poetry
Creator: Robert Kendall
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: The “Ballad of Sand and Harry Soot” is a poem written by Stephanie Strickland as a score for a hypertext implementation, coded by Janet Holmes. Its images are suggestive of digital or mathematical culture, including Webcam photos, a core dump, an animated fractal, and algorithmic patterns inscribed in sand by a computer-driven steel ball. The latter images are from Jean-Pierre Hébert’s and Bruce Shapiro’s work, "Sisyphus" (1999). These images accompany the text of a love poem, a ballad of love gone wrong, or at least not entirely right, between Sand and Soot. At one level, the disjunction of image and text mirrors the difficulties of this pair. However, this discordance will spring into resonant oscillation for readers who either see or read an avatar of carbon-based chemistry in Harry Soot and silicon life in Sand. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, visual poetry, interactive, html, women authors, poetry
Creator: Stephanie Strickland, Janet Holmes
Publisher: Stephanie Strickland, Janet Holmes
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: Flash poems with sound track and cinematic elements, presented as simple black text on white background flashing by in a rhythm syncopated to music, typically jazz. Entry drafted by: Patricia Tomaszek
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Subject: flash, sound art, time-based, critical/philosophical, electronic music, Collaboration, net art, Multilingual or Non-English, poetry, parody/satire
Publisher: YOUNG-HAE CHANG HEAVY INDUSTRIES
Language: English, Korean, German, Chinese, Spanish, Portugu
Collector: ELO
Collection: Electronic Literature: Individual Works
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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