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Reading Network Fiction
The marriage of narrative and the computer dates back to
the 1980s, with the hypertext experiments of luminaries such as
Judy Malloy and Michael Joyce. What has been variously called
\"hypertext fiction,\" \"literary hypertext,\" and \"hyperfiction\" has
surely surrendered any claim to newness in the 21st century.
David Ciccoricco establishes the category of \"network fiction\" as
distinguishable from other forms of hypertext and cybertext:
network fictions are narrative texts in digitally networked
environments that make use of hypertext technology in order to
create emergent and recombinant narratives. Though they both
pre-date and post-date the World Wide Web, they share with it an
aesthetic drive that exploits the networking potential of digital
composition and foregrounds notions of narrative recurrence and
return. Ciccoricco analyzes innovative developments in network
fiction from first-generation writers Michael Joyce (
Twilight, a symphony , 1997) and Stuart Moulthrop (
Victory Garden , 1991) through Judd Morrissey’s
The Jew's Daughter (2000), an acclaimed example of
digital literature in its latter instantiations on the Web. Each
investigation demonstrates not only what the digital environment
might mean for narrative theory but also the ability of network
fictions to sustain a mode of reading that might, arguably, be
called \"literary.\" The movement in the arts away from
representation and toward simulation, away from the dynamics of
reading and interpretation and toward the dynamics of interaction
and play, has indeed led to exaggerated or alarmist claims of the
endangerment of the literary arts. At the same time, some have
simply doubted that the conceptual and discursive intricacy of
print fiction can migrate to new media. Against these claims,
Reading Network Fiction attests to the verbal complexity
and conceptual depth of a body of writing created for the surface
of the screen.
eBook
The internet unconscious : on the subject of electronic literature
There is electronic literature that consists of works, and the authors and communities and practices around such works. 'The Internet Unconscious' looks at the poetics of net writing, or more precisely on the subject of writing the net. By 'writing the net', Sandy Baldwin proposes three ways of analysis: 1. an understanding of the net as a loosely linked collocation of inscriptions, of writing practices and materials ranging from fundamental TCP/IP protocols to CAPTCHA and Facebook; 2. as a discursive field that codifies and organizes these practices and materials into text (and into textual practices of reading, archiving, etc.), and into an aesthetic institution of 'electronic literature'; and 3. as a project engaged by a subject, a commitment of the writers' body to the work of the net.
Book
Microrrelato hipermedial: hibridismo semiotico en la obra de Patricia Esteban Erles /Hypermedia Flash Fiction: Semiotic Hybridity in the Work of Patricia Esteban Erles
Con el giro del pensamiento contemporáneo hacia la cultura textovisual y multimedia, los géneros literarios, también el microrrelato, se expanden más allá de lo escrito en unas creaciones simbióticas en las que texto e imagen pueden ser contemplados de un solo golpe de vista en una unidad perceptiva. Partiendo de las estrategias narrativas que confluyen en ambos lenguajes y de la formulación conceptual de microrrelato hipermedial, se analiza la interacción de los componentes verbales y visuales (en concreto, fotográficos) en los micro-rrelatos que Patricia Esteban Erlés ha publicado en Facebook. El universo imaginario fantástico de estas miniaturas narrativas se reviste en la red de una gran densidad semiótica, que multiplica las redes de significación narrativa. En ese orden de ideas, se estudia la interacción que entablan los imaginarios de Patricia Esteban Erlés y Diane Arbus en torno a lo monstruoso y siniestro. Palabras clave: Microrrelato hipermedial, intermedialidad, narrativa visual, hibridez semiótica, fotografía, Patricia Esteban Erlés, Diane Arbus. With the twist in contemporary thinking toward the text-visual and multimedia culture, the literary genres, as well as flash fiction, go beyond what is written in some symbiotic creations in which text and image can be contemplated all at once in a perceptive unit. Beginning with the narrative strategies that come together in both languages and with the conceptual formulation of hypermedia flash fiction, the interaction of the verbal and visual components is analyzed (in particular, the photographic one) in the flash fiction stories that Patricia Esteban Erlés has published in Facebook. The fantastic imaginary universe of these mini-narratives is covered with the net of the large semiotic density, which multiplies the networks of narrative significance. In this order of ideas, the interaction between the imaginaries of Patricia Esteban Erlés and Diane Arbus regarding the grotesque and the sinister is studied. Keywords: Hypermedia flash fiction, intermediality, visual narrative, semiotic hybridity, photography, Patricia Esteban Erlés, Diane Arbus.
Journal Article
Reading Writing Interfaces
Lori Emerson examines how interfaces-from today's multitouch devices to yesterday's desktops, from typewriters to Emily Dickinson's self-bound fascicle volumes-mediate between writer and text as well as between writer and reader. Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries.
Reading the means of production as well as the creative works they produce, Emerson demonstrates that technologies are more than mere tools and that the interface is not a neutral border between writer and machine but is in fact a collaborative creative space.Reading Writing Interfacesbegins with digital literature's defiance of the alleged invisibility of ubiquitous computing and multitouch in the early twenty-first century and then looks back at the ideology of the user-friendly graphical user interface that emerged along with the Apple Macintosh computer of the 1980s. She considers poetic experiments with and against the strictures of the typewriter in the 1960s and 1970s and takes a fresh look at Emily Dickinson's self-printing projects as a challenge to the coherence of the book.
Through archival research, Emerson offers examples of how literary engagements with screen-based and print-based technologies have transformed reading and writing. She reveals the ways in which writers-from Emily Dickinson to Jason Nelson and Judd Morrissey-work with and against media interfaces to undermine the assumed transparency of conventional literary practice.
eBook
Ciberfeminismos, Tecnotextualidades y Transgéneros
Literatura digital en español escrita por mujeres es \"un arma cargada de futuro\".
eBook