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Reading: Stuart Moulthrop
No full textIn this audiovisual recording from Friday, March 26, 2010, as part of the 41st Annual UND Writers Conference: Mind the Gap: Print, New Media, Art, Stuart Moulthrop plays the video “Shorewood Lip Dub” posted on Youtube on December 17, 2009, Radio Salience, Under Language, and a series of recently created hypertext fiction works including Slow Food.
Introduction by Tyler Stolt.
A transcription of this recording is available here
La imagen en la novel hipertextual electrónica : el caso de Stuart Moulthrop
No full textEste artículo describe la utilización de la imagen en algunos hipertextos electrónicos literarios, tomando como eje la experimentación y la hibridación entre narrativa y juego que ha hecho en algunas de sus obras Stuart Moulthrop, uno de los autores más reconocidos en el campo.This article describes image uses in some electronic literary hypertexts; it focuses on covering the experimentation and hybridization between narrative and games made in some of his works by Stuart Moulthrop, one of the most renowned authors in the field
The Hypertext Years?
No full textPlay the talk at: http://smoulthrop.com/talks/HT2020/
This talk begins with the crazy notion that we might think of hypertext as a signature for the period 1985-2020. The claim is more plausible technically than culturally, but the talk is perversely addressed to culture. Among other things, the discussion revisits Moulthrop\u27s previous ACM Hypertext keynote in 1998, in which he distinguished between exoteric hypertext – the then-novel adaptation of the World Wide Web by Amazon and other online retailers – and esoteric applications in things like hypertext fiction and digital art. The talk updates this insight with reference to later developments such as Jill Walker\u27s feral hypertext thesis, the rise of social media, and the recognition of computer games as legitimate channels of ideas.
While these phenomena have arguably displaced hypertextuality in the popular imagination, Moulthrop points to the major interest in complex narratives, counterfactuals, and multiverses as places where the hypertext aesthetic survives. Turning from aesthetics back to the technical, the talk focuses on Twine, the popular text-gaming application that marries what Alexander Galloway would call the proctological openness of web technologies with the structure-mapping affordances of graphical hypertext systems. In some ways portraying Twine as a second coming of hypertext is a clear and perhaps intentional misreading. The talk ends by wondering what this misreading might reveal
Twining
No full textHypertext is now commonplace: links and linking structure nearly all of our experiences online. Yet the literary, as opposed to commercial, potential of hypertext has receded. One of the few tools still focused on hypertext as a means for digital storytelling is Twine, a platform for building choice-driven stories without relying heavily on code. In Twining, Anastasia Salter and Stuart Moulthrop lead readers on a journey at once technical, critical, contextual, and personal. The book’s chapters alternate careful, stepwise discussion of adaptable Twine projects, offer commentary on exemplary Twine works, and discuss Twine’s technological and cultural background. Beyond telling the story of Twine and how to make Twine stories, Twining reflects on the ongoing process of making
Twining
No full textHypertext is now commonplace: links and linking structure nearly all of our experiences online. Yet the literary, as opposed to commercial, potential of hypertext has receded. One of the few tools still focused on hypertext as a means for digital storytelling is Twine, a platform for building choice-driven stories without relying heavily on code. In Twining, Anastasia Salter and Stuart Moulthrop lead readers on a journey at once technical, critical, contextual, and personal. The book’s chapters alternate careful, stepwise discussion of adaptable Twine projects, offer commentary on exemplary Twine works, and discuss Twine’s technological and cultural background. Beyond telling the story of Twine and how to make Twine stories, Twining reflects on the ongoing process of making
Twining
No full textHypertext is now commonplace: links and linking structure nearly all of our experiences online. Yet the literary, as opposed to commercial, potential of hypertext has receded. One of the few tools still focused on hypertext as a means for digital storytelling is Twine, a platform for building choice-driven stories without relying heavily on code. In Twining, Anastasia Salter and Stuart Moulthrop lead readers on a journey at once technical, critical, contextual, and personal. The book’s chapters alternate careful, stepwise discussion of adaptable Twine projects, offer commentary on exemplary Twine works, and discuss Twine’s technological and cultural background. Beyond telling the story of Twine and how to make Twine stories, Twining reflects on the ongoing process of making
Traversals
No full textMany pioneering works of electronic literature are now largely inaccessible because of changes in hardware, software, and platforms. The virtual disappearance of these works--created on floppy disks, in Apple’s defunct HyperCard, and on other early systems and platforms--not only puts important electronic literary work out of reach but also signals the fragility of most works of culture in the digital age. In response, Dene Grigar and Stuart Moulthrop have been working to document and preserve electronic literature, work that has culminated in the Pathfinders project and its series of “Traversals”--video and audio recordings of demonstrations performed on historically appropriate platforms, with participation and commentary by the authors of the works. In Traversals, Moulthrop and Grigar mine this material to examine four influential early works: Judy Malloy’s Uncle Roger (1986), John McDaid’s Uncle Buddy’s Phantom Funhouse (1993), Shelley Jackson’s Patchwork Girl (1995) and Bill Bly’s We Descend (1997), offering “deep readings” that consider the works as both literary artifacts and computational constructs. For each work, Moulthrop and Grigar explore the interplay between the text’s material circumstances and the patterns of meaning it engages and creates, paying attention both to specificities of media and purposes of expression.</p
Chaos Theory, Hypertext, and Reading Borges and Moulthrop
No full textIn her paper Chaos Theory, Hypertext, and Reading Borges and Moulthrop, Perla Sassón-Henry presents a multidisciplinary perspective to the study of Jorge Luis Borges\u27s and Stuart Moulthrop\u27s works. Sassón-Henry argues that there exists a tripartite relationship among Borges\u27s texts, Moulthrop\u27s Victory Garden, and chaos theory. The dialogue among these texts via chaos theory, bifurcation theory, and noise is what separates this analysis from former studies. Sassón-Henry concludes that by underscoring the reciprocal interconnectedness among Borges\u27s stories, Victory Garden, scientific theory, and new media technology we also acknowledge the intricate connections among print literature, digital literature, and science, and thus move towards a new interpretation of Borges\u27s oeuvre, one that reaffirms Borges significant role in Latin American literature and culture while acknowledging its projection into the digital age
Panel: Beyond the Screen
No full textIn this audiovisual recording from Thursday, March 25, 2010, as part of the 41st Annual UND Writers Conference: Mind the Gap: Print, New Media, Art, Nick Montfort, Cecelia Condit, Stuart Moulthrop, Mark Amerika, and Scott Miller participate in a panel called Beyond the Screen. The panelists discuss new media in art, music, literature, and culture.
Moderated by Joel Jonientz, Department of Art & Design.
A transcription of this recording is available here
Reading Ineffability and Realizing Tragedy in Stuart Moulthrop\u27s \u3ci\u3eVictory Garden\u3c/i\u3e
No full textVictory Garden, Stuart Moulthrop’s 1991 classic hyperfiction, presents a nonlinear story of U. S. home front involvement in the First Gulf War in a way that facilitates confusion and mimics a fog of war sort of (un)awareness. Using Storyspace to build his complex narrative, Moulthrop incorporates poetry, fiction, historical references, and low-tech graphic novel type elements. Among the graphic components are all-black and all-white screens that function as variables. Overtly, these screens speak of closure and signify unconsciousness; however, their nonverbal role may also be linked to the ineffability trope as used by Dante Alighieri and re-interpreted by contemporary linguist Ruiging Liang. To date, critics and meta-readers have incorrectly assumed that the protagonist, Emily Runbird, becomes a fatality. By failing to read her life or death as undecidable, we deny the fiction its full power as a postmodern interpretive dilemma. This assumption plays into what might be posited as Moulthrop’s real thesis: syllogism in a corrupted (war time) information system is potentially tragic. A summary of theories and critical approaches relevant to the blank screen’s use as interstice together with sample engagements with relevant texts—reading Victory Garden, as per Wolfgang Iser’s phenomenological approach, Stanley Fish’s reader response theory, and Jacques Derrida’s deconstruction—prove Victory Garden, to be a challenging but consistent literary breakdown (staged malfunction of reading habits). Ultimately, ineffability is shown to be a reading strategy and the action Aristotle characterizes as key to the definition of tragedy is seen as performed by the reader. Moulthrop dangles the question about Emily’s demise as a critical reading moment prone to corruption. The classical anagnorisis is not Emily’s; the revelation Moulthrop intends is reserved for the reader and is precipitated by the need to resolve aporia
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