Hypertext Literature

The Sinclair ZX Spectrum was one of the most popular home computers in British history, selling over five million units in its 1980s heyday. Amongst the thousands of games released for the Spectrum during its lifetime, the text adventure game was to emerge as one of the most significant genres on the system.
The Spectrum of Adventure chronicles the evolution of the text adventure on the ZX Spectrum, exploring the work of landmark software houses such as Melbourne House Software, Level 9 Computing, Delta 4 Software, the CRL Group, Magnetic Scrolls, and many others besides.
Covering one hundred individual games in all, this book celebrates the Spectrum’s thriving interactive fiction scene of the eighties, chronicling the achievements of major publishers as well as independent developers from the machine’s launch in 1982 until the end of the decade in 1989.

The similarities between Noah's ark and the saving boat in Mesopotamian flood accounts are widely known. Likewise known are the links between Noah's ark and the chest of Moses (Exod 2:3). However, the connections between the "chest" of Noah and the "chest" of the testimony have not hitherto drawn adequate scholarly attention. The article explores these connections on both the linguistic and the conceptual level. Moreover, it investigates their function in hypertextual links of the Genesis flood account to earlier Israelite literary works, especially the book of Deuteronomy and the book of Joshua.

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories.
The second edition for the Book on Demand (Lulu.com, 2020) includes an update of chapter II.1.1 (first edition 2014, see above in "Papers" the PDF of the HTML version).
Book on Demand printed by Lulu.com (available via International Distributors): URL: https://www.lulu.com/en/en/shop/thomas-dreher/history-of-computer-art/hardcover/product-qg94d2.html

Update: Puede consultar la tesis completa a través de mi perfil.

"La literatura digital es un fenómeno literario reciente cuyo desarrollo se relaciona estrechamente con la evolución de los computadores personales iniciada en 1970. Se trata de un género literario de obras (poéticas, narrativas o dramáticas) que se caracterizan por tener contenidos multimediáticos (texto, imagen, sonido y vídeo), requerir altos niveles de interactividad, recurrir a enlaces asociativos (links) entre fragmentos de información para su desenvolvimiento. Estas características hacen que estos textos deban ser escritos o construidos desde una plataforma digital (como por ejemplo un computador) para ser leída desde otra plataforma igualmente digital.

Dado este carácter de reciente afloramiento, la literatura digital es un campo de investigación con muy poco estudio que se concentra en su mayoría en países con un alto nivel de progreso tecnológico. ¿Qué pasa entonces con esta categoría literaria en países “en vías de desarrollo”? ¿Cómo es la literatura digital en Colombia?¿Cuáles son sus representantes? ¿Qué se ha escrito? ¿Qué características tienen estas obras? Y aún más importante ¿Cómo las obras de literatura digital colombianas se relacionan, ya sea desde la convergencia o desde la divergencia, con la teoría de este género? Con estas preguntas en mente, el proyecto “Literatura Digital en Colombia” busca recolectar, organizar y ofrecer información sobre la literatura digital escrita en Colombia o por colombianos desde 1990 hasta el 2010. Asimismo, busca constituirse como un primer intento de realizar una historiografía de dicho tipo de literatura en Colombia, al relacionar y comparar su desarrollo y características con obras canónicas de este mismo tipo y la teoría de este género."

"Hypertext, considered the third dimension of language (M. Bernard) uses as the fundamental concept the hyperlink (link), which is its engine. Without hyperlinks in the text area of Internet the users of electronic texts would be as if with no routes or traffic signs. Online text dynamism is due to the instant click on the link, an operation that establishes connections with other texts, documents, images, videos, etc. In a prospective grammar of the hyperlink, we’ll be talking about syntactic hyperfunction defined by two dimensions: linguistic and technological. The syntax itself is the science of textual relations, while the link will become one of the basic concepts of (inter)net-linguistics."

Gli ipermedia sono sistemi complessi di testi interrelati, che offrono a chi li naviga la possibilità di procedere autonomamente nella fruizione delle informazioni, di integrare i dati testuali con numerosi altri media, e di interagire con il computer per costruire autonomamente il proprio percorso di conoscenza degli argomenti presentati. L'ipertesto ha una struttura analoga a quella che in psicologia oggi viene definita "struttura delle rappresentazioni interne delle conoscenze": una serie di collegamenti (link) uniscono dei concetti o insiemi di concetti (nodi) e ci permettono di collegare le informazioni in un modo analogo ai meccanismi di costruzione delle conoscenze nella mente umana. Negli ipertesti multimediali, siano essi su supporto fisico o siti web, la conoscenza, quindi, è organizzata in modo non sequenziale.

Adjunto el primer capítulo de mi libro Érase unas veces: filiaciones narrativas en el arte digital (UOC Press, 2015).

“Érase una vez” ha sido la fórmula tradicional para contar una historia desde el principio de los tiempos. Pero, ¿qué ocurre con los relatos cuando se cuentan por ordenador, incluyen texto, imagen y sonido, ofrecen varios caminos narrativos, o incluso son interactiv0s? ¿De dónde vienen tales narraciones? Este ensayo profundiza en los relatos contados por ordenador (obras narrativas digitales) y en su origen múltiple (o filiaciones literarias, cinematográficas, videográficas y postmediáticas). Porque cuando contamos historias con el ordenador ya no decimos “érase una vez”, sino “érase unas veces”.

Este ensayo se basa en mi tesis doctoral, defendida en 2014 en la Universidad Pompeu Fabra. Así obtuve el título de doctora en Comunicación Social con la calificación cum laude. El ensayo íntegro puede adquirirse en http://www.editorialuoc.cat/raseunasveces-p-1680.html?cPath=1 

Érase unas veces. Filiaciones narrativas en el arte digital. Available from: https://www.researchgate.net/publication/274194010_rase_unas_veces._Filiaciones_narrativas_en_el_arte_digital [accessed May 13, 2015].

Advantages of hypertext (i.e. online communication) are the following: significant increase of information size, growth of public informing level, interrelating data (by means of links), free access to various information sources , any user’s possibility to produce text online, global communication (with anybody, any time, anywhere), intensified socialization, interactive public, social recognition, promoting associative, creative and critical thinking, awareness and recognition of cultural diversity, intensified involvement in social problems, increased democracy (by means of online public voting) etc. Most disadvantages of hypertext are those of Internet or of
modern technologies: lost identity, manipulated public opinion, excess of advertising, psychological disorder, broken relations, computer addiction etc.
Keywords: hypertext, links, interactive public, modern technologies.

This monograph demonstrates that the book of Genesis is a result of highly creative, hypertextual reworking of the book of Deuteronomy. This detailed reworking consists of around 1,000 strictly sequentially organized conceptual, and at times also linguistic correspondences between Genesis and Deuteronomy. The strictly sequential, hypertextual dependence on Deuteronomy explains numerous surprising features of Genesis. The critical analysis of Genesis as a coherently composed hypertextual work disproves hypotheses of the existence in this writing of Priestly and non-Priestly materials or multiple literary layers.

Electronic literature as a literary genre in the digital medium employs elements of interactivity to involve the reader in the narrative. In this way, electronic narratives exhibit an explicit correspondence to reader response theory with the reader's choices materialized in physical interactivity. However, reader-centered criticism is rarely mentioned as the origin of the discussion on narratology for this genre. This thesis is aimed to examine the correlation between the text-reader relationship as it is described by advocates of reader response theory for print books and as it is performed in electronic literature. The research is based on a qualitative comparison of literary criticism and electronic literature. Two hypertext fiction novels, afternoon, a story by Michael Joyce and Patchwork Girl: Or, a Modern Monster by Shelley Jackson, are used for the analysis. The findings display a more complex system of organization of the text in the digital medium combined with higher complexity in levels of its understanding as well as visual strategies to mitigate this complexity. Yet the results leave room for further discussions of narratology and gamification in later kinds of electronic literature, like network-based collaborative writing projects, interactive textual installations, or interactive cinema.

Celem artykułu jest przedstawienie stanu badań nad literaturą elektroniczną w Polsce. Wprowadzeniem do rozważań jest przedstawienie różnych zjawisk w literaturze na początku XXI wieku, które były efektem splotu literatury i nowych technologii, w tym szczególnie Internetu. W kolejnych partiach ukazane są najważniejsze problemy terminologiczne i metodologiczne, których próba rozwiązania jest zamierzeniem niniejszego tekstu. Poruszone zostały następujące kwestie: rozróżnienie „literatury w sieci” od literatury elektronicznej, literatura cyfrowa a liberatura, konteksty opisywania hipertekstu oraz definiowanie poezji cybernetycznej. Podsumowaniem artykułu jest próba wydzielenia obszarów badawczych oraz wskazanie zagadnień dotąd nie podjętych przez teoretyków literatury elektronicznej.

Drawing upon the critical views of hypertext theory, this paper seeks to investigate the genre of hypertext fiction, analyzing some of its aspects, especially the domination of narrative nonlinearity and the birth of the wreader. The paper argues that computer technologies have revolutionized the form and representation of literary texts as well as the relationship between writer and reader. The study first fathoms the aspects of narrative nonlinearity as represented in Michael Joyce's novel Twelve Blue (1996), a representative of first-generation hypertext fiction, and the two short stories "From Head to Toe" by Arseniy Klishin and Laura Gray (2019) and "The Road" by Jason Malabed (2014), which belong to second-generation hypertext fiction. Instead of having narrative hierarchies, these hypertexts depend on hyperlinks, multiple reading pathways, and multimodal representation that contribute to optimizing narrative nonlinearity. The paper then analyzes the critical concept of wreader/wreading and applies it to the selected hypertexts, showing how electronic literary production is no longer an absolute creation of the author. The three selected hypertexts indicate that a work of hypertext fiction binds together reader and writer into a collaborative process in which the reader becomes a co-author of the text.

Drawing upon the critical views of hypertext theory, this paper seeks to investigate the genre of hypertext fiction, analyzing some of its aspects, especially the domination of narrative nonlinearity and the birth of the wreader. The paper argues that computer technologies have revolutionized the form and representation of literary texts as well as the relationship between writer and reader. The study first fathoms the aspects of narrative nonlinearity as represented in Michael Joyce's novel Twelve Blue (1996), a representative of first-generation hypertext fiction, and the two short stories "From Head to Toe" by Arseniy Klishin and Laura Gray (2019) and "The Road" by Jason Malabed (2014), which belong to second-generation hypertext fiction. Instead of having narrative hierarchies, these hypertexts depend on hyperlinks, multiple reading pathways, and multimodal representation that contribute to optimizing narrative nonlinearity. The paper then analyzes the cr...

The allusion to Aristophanes' Birds plays an important role in the intertextual-illustrative rhetoric of the Lucan parable of the unjust steward (Lk 16:1-8). People generally assume that good legal systems promote moral honesty and legal justice. Against this background, the Pauline idea of the presence of the law, but also its ineffectiveness in giving righteousness (Gal 3:19b; cf. 3:21), is quite difficult to explain. In order to illustrate this Pauline idea in his sequential hypertextual reworking of the Letter to the Galatians, Luke used the allusion to Aristophanes' comedy, which presented the classical Athenian legal system as likewise ineffective against the activity of the morally corrupt legal agent, the sycophant. The Lucan unjust steward not only uses the language of the Athenian sycophant, but also engages in similar, apparently legal but morally unjust activity, thus questioning the effectiveness of the whole legal system in promoting righteousness. The reworking of the sequence of Pauline ideas explains the meaning of the enigmatic parable of the unjust steward (Lk 16:1-8).

This monograph demonstrates that the books of Exodus–Numbers, taken together, are the result of one, highly creative, hypertextual reworking of the book of Deuteronomy. This detailed reworking consists of around 1,200 strictly sequentially organized conceptual, and at times also linguistic correspondences between Exodus–Numbers and Deuteronomy. The strictly sequential, hypertextual dependence on Deuteronomy explains numerous surprising features of Exodus–Numbers. The critical analysis of Exodus–Numbers as a coherently composed hypertextual work disproves hypotheses of the existence in these writings of Priestly and non-Priestly materials or multiple literary layers.

Le Wikitractatus est un traité philosophico-poétique dont vous êtes le héros. Une mise en abyme de la connaissance-réseau. Un livre-processus. Il se construit par le parcours du lecteur. Ce dernier chemine au gré des envies et des intérêts thématiques. La liste exhaustive des termes du dictionnaire classique laisse place à l’expérience d’un réseau de sens.

Chacun sait qu’en termes d’hypertextualité, les textes seconds augmentent, et modifient notre réception de l’hypotexte. Les mentions, reprises, citations de ses livres les plus connus (Locus Solus ou Impressions d’Afrique), les allusions à son excentrisme, à son destin tragique par Breton, Robbe-Grillet ou encore l’OuLiPo ont profondément modifié nos lectures de Roussel. L’art contemporain s’est aussi intéressé comme en témoigne l’exposition Locus Solus - Impressions of Raymond Roussel au Musée Reina Sofia de Madrid (2011). Sans vouloir forcer les comparaisons, cette contribution voudrait ressaisir, nonobstant l’individualité de ses œuvres, ce que le travail d’Édouard Levé doit ostensiblement à « Roussel », la façon dont nombre de ses démarches ont salué, revendiqué l’univers et les procédés rousselliens, mais également remodelé son empreinte en fonction de considérations personnelles et originales.

This paper summarizes the novel literary concepts that has risen with technology and outlines the basic principles that construct the core of interactive narratives, cybertexts and hypertexts. It is aimed to determine the factors that dissociates and transmutes printed narratives and interactive narratives into completely different breeds. The mutations in textuality, linearity, temporal orders, anachronism and narrative construction of now-vs-bygones are debated. As a result a reference of comparisons and analogies are formed to elucidate why interactive narratives and printed narratives are pilgrims of their own seperate yet concurrent paths.

With regard to (digital) hypertext as a medially determined literary 'genre', or 'hypertext proper', which forms the focus of this study, let us continue with an investigation of the actual technological concept of hypertext, which, after all, forms the macrostructural foundation of the literary concept. The most widely acknowledged definitions have been suggested by Ted Nelson, whose first public use of the word 'hypertext' dates back to his 1965 lectures at Vassar College, Jakob Nielsen (1990), Paul Delany and George P. Landow (1991) and Jay David Bolter (2001). Essentially, the abstract idea of 'hypertext' is based on the rhizome metaphor (Deleuze and Guattari, 1987), characterized by a ramifying, horizontally organized root structure, which is, unlike arborescent structures, decentralized, i.e. there is no core, or 'trunk', and no visible hierarchy. Similarly, Nelson's ubiquitously quoted definition of hypertext classifies it as non-sequential writing-text that branches and allows choices to the reader, best read at an interactive screen. As popularly conceived, this is a series of text chunks connected by links which offer the reader different pathways. (1984: 0/2) 6 Evidently, Nelson's explanation combines issues of production, reception, mediality and textuality. It emphasizes hypertext's compositional nonlinearity, which allows a

This was supposed to be an open issue. However, as the essays poured in and the responses to the important work done in 8.1 grew, the issue galvanized around a few, key, central ideas. Graham and Joe write presciently, on the eve  of the election, NOT after it: It is our wager that even though the forms of race, racism, and empire have changed considerably since he was at the height of his powers - as evidenced perhaps most starkly by the ascendancy of Kenyan-descended, African American, Barack Obama, during the recent U.S. Presidential race - Richard Wright's writings remain invaluable; even with their obvious limitations, they continue to yield insight, inspiration, and even injunction for those of us seeking to understand and to change the world in 2008.

The book demonstrates that the books of Samuel–Kings, taken together, are a result of one, highly creative, hypertextual reworking of the book of Deuteronomy. This detailed reworking consists of almost 2000 strictly sequentially organized, conceptual, and at times, also linguistic correspondences between Samuel–Kings and Deuteronomy. The strictly sequential, hypertextual dependence on Deuteronomy explains numerous surprising features of Samuel–Kings. The critical analysis of Samuel–Kings as a coherently composed Judaean hypertextual work disproves the hypothesis of the existence of the Deuteronomistic history and its variants. It also sheds entirely new light on the question of the origin of the so-called Enneateuch Genesis–Kings.

This paper scrutinizes how Roland Barthes' notion of Text can be reinterpreted in the Internet era. Barthes' " From Work to Text " is the main theoretical piece on which the article's theoretical framework is grounded. Geoff Ryman's 253: or Tube Theatre is taken to serve as the example for Internet hypertext literature, and is examined vis a vis Barthes' conceptualizations and ideas. The essay starts with a brief discussion on the nature of Internet literature in relation to that of print literature. This discussion consists of 'the transition period' spirit in literature, and the advantages of Internet publishing. The essence of this part is about how traditional paper-based print literature is endangered by online publishing. After the section on the new literature style come the analysis of Barthes' " Text " and the application of his theories on 253. In this analysis, Barthes' text is 'destructed' into three metaphors: the metaphors of Text as the sea, the network and the game. Analysis of 253 according to Barthes follows the same order as quotations from Barthes. After the comparative analysis of " From Work to Text " and 253, the paper focuses on the contributions of 253 in the framework of the old questions of literature. These questions include collaborative authorship, Internet readership, self-reflexivity and fundamental authorship.

Milorad Pavic’s Dictionary of the Khazars is heavily saturated by the concept of dreams, thematically, stylistically, ontologically and structurally alike. The novel is allegedly based upon a series of fictional writings that deal with sect of dream hunters and a polemic that revolves around the interpretation of the Khazar kaghan’s dream. Besides, dreams
provide a matrix through which the characters (whose lives are in certain cases several centuries apart) are connected to each other. Through dreams, objects and people are transferred into each other’s reality – in fact, the novel features a pair of characters, who dream each other’s waking life. In this sense already, the ontological boundary between
dreams and reality is blurred. Moreover, according to the fictional Khazar tradition, dreams are a way to get close to God: they are considered to be the scattered pieces of the divine primeval man. Finally, as the novel is a written in the lexicon form, the reader is left to follow her own associations. Accordingly, the reading experience echoes the associative nature of dreams.

The aim of this paper is two-fold. First and foremost, it provides a thorough analysis of the role dreams play in the novel regarding theme, style, structure and ontology. Even though dreams influence the text from its narrative mechanism to its poetically surreal imagery, no scholarly analysis of the topic is available as yet. Secondly, through the example of the Dictionary, the paper examines how the workings of dreams may shed light on contemporary culture in general and emerging (digital) textualities in particular. Pavic’s novel is not only considered to be a prime example of postmodern writing, but it was hailed as “the first novel of the 21th century”. The traits that earned it this reputation are
arguably those that bear a close relation to dreams.

This article considers arguments on the book as a structuring paradigm for thought and how the rise of digital technologies shift the structure of thought away from that of the print codex. Rather than making evaluative judgments on this transition from print to digital, this essay considers what differences exist between the print and digital structure of thought and how that new structure puts forward another vision of the human subject. Developing a networked and ecologically aware state that alters the unified and singular view of the subject born from the codex as organizing paradigm. Following a brief review of the literature, this article presents short readings of the structure of two digital stories -- David Clark’s 88 Constellations for Wittgenstein and Kevin Gold’s Choice of Robots -- as a proxy to explore how restructuring models of thinking from print codex to digital platform affects the literary representation of subjectivity.

Beat Signer is Professor of Computer Science at the Vrije Universiteit Brussel (VUB) and co-director of the Web & Information Systems Engineering (WISE) research lab. He received a PhD in Computer Science from ETH Zurich where he has also been leading the Interactive Paper lab as a senior researcher for four years. He is an internationally distinguished expert in cross-media technologies and interactive paper solutions. His further research interests include human-information interaction, document engineering, data physicalisation, mixed reality as well as multimodal interaction. He has published more than 100 papers on these topics at international conferences and journals, and received multiple best paper awards.

Beat has 20 years of experience in research on cross-media information management and mul-timodal user interfaces. As part of his PhD research, he investigated the use of paper as an interactive user interface and developed the resource-selector-link (RSL) hypermedia metamodel. With the interactive paper platform (iPaper), he strongly contributed to the interdisciplinary European Paper++ and PaperWorks research projects and the seminal research on paper-digital user interfaces led to innovative cross-media publishing solutions and novel forms of paper-based human-computer interaction. The RSL hypermedia metamodel is nowadays widely applied in his research lab and has, for example, been used for cross-media personal information management, an extensible cross-document link service, the MindXpres presentation platform as well as in a framework for cross-device and Internet of Things applications. For more details, please visit https://beatsigner.com.

Poète, philosophe, philologue, Giacomo Leopardi (1798-1837) est l’un des plus grands auteurs de la littérature italienne. Si l’on devait lui attribuer un seul emblème, la lune ferait certainement l’unanimité, tant sa poétique est imprégnée de cette présence énigmatique. Le sujet est délicat : expliquer un objet poétique, c’est aussi défaire son unité – sa beauté – pour mettre au jour ses mécanismes. Risquer de le dépoétiser.
Le regard léopardien sur le monde n’est pas seulement celui du poète, mais aussi celui du philosophe. Chez Leopardi, l’objet poétique lunaire est également objet logique, tant sont multiples et cohérentes les significations auxquelles il renvoie : c’est une clef qui permet d’entrer dans son système de pensée. À partir de la lune – et par les perspectives qu’elle ouvre – nous nous proposons d’explorer une écriture poétique qui est également écriture en réseau.

... Perhaps more than that the Vyasas are the memes who have kept the epics pan Indian (sub ... writing this series of poems, I have been concerned as much with researching lesbian culture, finding the ... lesbians of loose women of carnal lust a friend of the lion the dragon the eagle ...

This innovative monograph focuses on a contemporary form of computer-based literature called 'literary hypertext', a digital, interactive, communicative form of new media writing. "Canonizing Hypertext" combines theoretical and hermeneutic investigations with empirical research into the motivational and pedagogic possibilities of this form of literature. It focuses on key questions for literary scholars and teachers: How can literature be taught in such a way as to make it relevant for an increasingly hypermedia-oriented readership? How can the rapidly evolving new media be integrated into curricula that still seek to transmit 'traditional' literary competence? How can the notion of literary competence be broadened to take into account these current trends? This study, which argues for hypertext's integration in the literary canon, offers a critical overview of developments in hypertext theory, an exemplary hypertext canon and an evaluation of possible classroom applications.

Mortara: a proposal for a new literary sub-genre base on hypertext and electronic literature. By Juan Pablo Plata. Text  which summarizes an investigation on hypertext literature, genres and some works of Enrique Vila-Matas . The text uses works and theories of Daniel Grassian, Claudio Guillén and Jaime Alejandro Rodríguez.

This is a second poetry collection of Prof. Dr. Paul Ade Silva, who currently teaches English New Media at Nişantaşı Üniversitesi, Istanbul, Turkey. Amongst Paul's contemporaries with whom he has performed or read his poems or interviewed are the poet, Simon Armitage who in 2015 was elected Oxford Professor of Poetry and in 2017 appointed Professor of Poetry at the University of Leeds. Others include Professor David Morley of Warwick University and winner of the 2015 Ted Hughes Award; Robert Ian Duhig, winner of T. S. Eliot Prize and the Cholmondeley Award; Milner Place and Jo Haslam, to name a few.

ISBN: 978 605 6398-1-1

Mixed genre : Essay or Fictional Prose of New Symbolism. Main Topic: Reforms of the Heaven by Aphrodite Urania.
The text tells about the conflict between ancient mythic throne and crowd. The Boat-of-Idea of Equality has to pass through an abyss of Hydra or through an absolute danger...