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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
Get PDFEste 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
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
FROM CREATOR TO CURATOR TO AUTHOR AS CONTENT: NICOLAS WINDING REFN, TRANSDISCURSIVE AUTHORSHIP, AND SELF-BRANDING IN TWENTY-FIRST CENTURY MEDIA
No full textThis dissertation traces Danish director Nicolas Winding Refn’s development from creator and curator to author as content within an evolving media ecology driven by capitalist ideology. A close critical study of Refn’s career from 1996 to 2019 offers insight into contemporary techniques of creating, collecting, and curating media texts, as well as the phenomenon of presenting oneself as content via discursive branding. Given that Refn’s career coincided with the emergence of the World Wide Web and the rise of digital platforms, he thus emblematizes what it means to be a creator working within an increasingly interconnected media ecology. Refn initially established himself as a traditional auteur as defined by scholars such as Peter Wollen. During this time, he took the first steps toward developing his mediated persona, which consists mainly of discourse fragments generated by critics, scholars, fans, and Refn himself. Eventually, however, Refn emerged as a transmedia auteur whose works span various media and platforms while still retaining his signature stylistic and narratological tendencies. Around the same time, Refn gained a reputation as a collector and fan curator through projects such as the coffee table book The Act of Seeing and the branded streaming platform byNWR.com, both of which position him as a cultural intermediary who shapes the tastes of others. Eventually Refn’s likeness was used by game developer Hideo Kojima in the video game Death Stranding, which demonstrates how a creator’s brand can be appropriated and used ludically by other creators in their own works. Refn’s brand becomes a significant text, as he uses it to discursively reject corporate cinema and celebrate regional exploitation cinema even as he frequently replicates aspects of corporate cinema in his own films. Drawing on the theories of polymediation and transdiscursivity, the analysis considers how late-stage capitalism shapes Refn’s career trajectory, which points toward potentially new forms of commodification and exploitation as authors become yet another form of branded content
Monsters and Freaks: Patchwork Girl and the New Unreadable
No full textThis chapter is informed by Shelley Jackson’s author traversal of her hypertext fiction, Patchwork Girl, and her subsequent interview. Jackson’s re-working of Mary Shelley’s Frankenstein has been well explored, but less has been said of the second influence-text for Patchwork Girl, L. Frank Baum’s Patchwork Girl of Oz. Resonances from that text suggest a radically different way of valuing difference and rebellion, under the sign of the “freak” instead of the “monster.” The chapter relates this difference to structural aspects of the hypertext exposed in Jackson’s traversal and interview, particularly the fragmentary and elliptical part of the design called “Broken Accents.”</p
Coelacanth History: Uncle Buddy’s Phantom Funhouse and the Cybertext of Things
No full textThis chapter reflects on John McDaid’s author traversal of his 1993 hypermedia novel, Uncle Buddy’s Phantom Funhouse, a groundbreaking work not just for its comprehensive exploration of Apple’s HyperCard authoring system, but also because of its principle of “modally appropriate” presentation, involving non-digital artifacts as well. Built around the science-fictional notion of time travel and multiverses, the Funhouse thus invites consideration of his own curious history, in which it figures as a kind of broken time machine. Comparing McDaid’s work with later, similar projects from the video game world, the chapter argues for an understanding of digital culture that moves beyond the harsh binaries of obsolescence. As McDaid says: “We win by losing.”</p
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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