"An infinitude of Possible Worlds": towards a research method for hypertext fiction

While the investigation of creative writing as a research method is gathering apace, little work has been done into the specific case of hypertext fiction (fiction written through a digital medium). This paper argues that, while there remain certain similarities between paper-based and digital texts, fundamental differences in design and construction remain. If hypertext fictions are to be successfully understood, then the role and purpose of the digital writer needs to be more fully analysed as part of the creative process. This paper argues that Possible Worlds Theory offers a way forward. With its focus on the ontological structures created by hypertext fiction, Possible World Theory actively embraces narrative indeterminacy and ontological changeability. In this sense the method provides a structured means by which the creative manipulation of the unique affordances of a digital medium by a writer can be theorised

Exploring (the poetics of) strange (and fractal) hypertexts

The ACM Hypertext conference has a rich history of challenging the node-link hegemony of the web. At Hypertext 2011 Pisarski [12] suggested that to refocus on nodes in hypertext might unlock a new poetics, and at Hypertext 2001 Bernstein [3] lamented the lack of strange hypertexts: playful tools that experiment with hypertext structure and form. As part of the emerging Strange Hypertexts community project we have been exploring a number of exotic hypertext tools, and in this paper we set out an early experiment with media and creative writing undergraduates to see what effect one particular form – Fractal Narratives, a hypertext where readers drill down into text in a reoccurring pattern – would have on their writing. In this particular trial, we found that most students did not engage in the structure from a storytelling point of view, although they did find value from a planning point of view. Participants conceptually saw the value in non-linear storytelling but few exploited the fractal structure to actually do this. Participant feedback leads us to conclude that while new poetics do emerge from strange hypertexts, this should be viewed as an ongoing process that can be reinforced and encouraged by designing tools that highlight and support those emerging poetics in a series of feedback loops, and by providing writing contexts where they can be highlighted and collaboratively explore

Incremental Storytelling and Calypsis: A Hypertext Fiction a Critical Introduction

This critical introduction to Calypsis: A Hypertext Fiction argues that university creative writing programs should make full use of the institutional space, time, and resources available to them by introducing students to different types of writing projects and engage students in critical discussions about creative production, activities that they are unlikely to find outside the university\u27s walls. These activities includes experimenting with digital tools, creating multimedia compositions, and producing collaborative work, as well as situating creative writing as an embodied act within specific historical, political, and material conditions. Herein I forward my theory of incremental storytelling, which is informed by both creative writing pedagogy and gaming theory, as one strategy for achieving these goals. Using this methodology, students learn the craft of fiction writing in smaller, discrete bits that, in aggregate, create something much greater than their constituent parts. This progressive approach puts students in immediate contact with each others\u27 writing throughout the entire creative process and opens space for critical discussions about the fictional characters and the shared world they create. I go on to describe a course I designed using incremental storytelling entitled Gaming, World Building, and Narrative, where students used a wiki and a Google map to collaboratively create a sprawling post-apocalyptic world that they then explored via a tabletop role-playing game. Students responded enthusiastically to the course, as shown in their responses to a survey asking them to reflect on this experimental method. I then connect the theory of incremental storytelling and narratives derived from role-playing games to my creative dissertation, Calypsis: A Hypertext Fiction, and how it might serve as inspiration for others to experiment with creating a collaboratively built world

On the writing, reading and publishing of digital stories

Purpose – The purpose of this paper is to describe a study set up to investigate and map the landscape of digital writing today. A holistic perspective has been adopted involving writers, readers and publishers alike. Design/methodology/approach – The research uses a qualitative approach and combines interviews and direct observations. In in-depth interviews 13 participants (four writers, four publishers, three readers and two on-line readers) were questioned for their opinions on issues related to writing, publishing and reading digital fiction. The three readers were also observed while interacting, for the first time, with three digital stories. Findings – Results show that the area is still unsettled though much excitement surrounds experimentations and freedom of publishing online. Readers seem uneasy with the role of co-creators that writers want to assign them and prefer linear stories to more deconstructed ones. Writers like to experiment and combine multiple media and readers like to interact with multimedia stories; this seems to open interesting perspectives over interactive narrative. Publishers are not yet involved in digital writing and this is seen simultaneously as a blessing (unfiltering of innovative ideas) and a curse (lack of economical support, lack of quality selection). Despite disagreement and ambiguity all interviewees agree that digital fiction will come, likely prompted by new reading technology. Originality/value – This paper is the first attempt to understand the phenomena of digital writing taking into consideration the perspectives of writers, readers and publishers simultaneously and comparing their different views

Teaching new media composition studies in a lifelong learning context

Governmental proposals for lifelong learning, and the role of Information and Learning Technologies/Information Communication Technologies (ILT/ICT) in this, idealistically proclaim that ILT/ICT empowers learners. A number of important governmental funding initiatives have recently been extended to the development of ILT in further education, which provides a particularly appropriate environment for lifelong learning. Yet little emphasis is given to more problematic research findings that students may be ‘disarmed’ in the process of learning to use technology. In the current global shift towards new forms of multimedia literacy, it is important to recognize human diversity by carrying out research focusing on the actual problems students face in adapting to Web‐based technology as a new authoring medium. A case study into multimedia creative composition carried out with FE students in 1996–9 found that students tend to experience a problematic but potentially useful period of ‘creative mess’ when authoring in multimedia, and that ‘scaffolding’ strategies can be useful in overcoming this. Such strategies can empower students to derive benefits from multimedia composition if close attention is given to the setting up of the learning environment: a teachers’ model for supporting novice hypermedia authors in further education is proposed, to assist teachers to understand and support the learning processes students may undergo in dynamic composition using new media technology

Literature as a technique of recollection

There is a caricature of Marcel Proust in which the despairing writer is consoled by a friend saying, 'Aber, aber, mon cher Marcel, nun versuchen Sie sich doch zu erinnern, wo Sie die Zeit verloren haben.' Literature in general, not only A La Recherche du Temps Perdu, deals with a different form of memory than that of mnemonics, in which the hints of places lead to a retrieval of what has been stored there before. Nevertheless it is difficult to pinpoint the criteria that make this difference. How does literature transcend the technologically limited sense of memory in terms of a storage and retrieval system? ..

Literary recollection : the end(s) of intertextuality

There is a caricature of Marcel Proust in which the despairing writer is consoled by a friend saying, "Aber, aber, mon cher Marcel, nun versuchen Sie sich doch zu erinnern, wo Sie die Zeit verloren haben…" ..

What is an Analogue for the Semantic Web and Why is Having One Important?

This paper postulates that for the Semantic Web to grow and gain input from fields that will surely benefit it, it needs to develop an analogue that will help people not only understand what it is, but what the potential opportunities are that are enabled by these new protocols. The model proposed in the paper takes the way that Web interaction has been framed as a baseline to inform a similar analogue for the Semantic Web. While the Web has been represented as a Page + Links, the paper presents the argument that the Semantic Web can be conceptualized as a Notebook + Memex. The argument considers how this model also presents new challenges for fundamental human interaction with computing, and that hypertext models have much to contribute to this new understanding for distributed information systems