The only instruction for this is to turn up your volume and enjoy!
Tuesday, April 23, 2013
Project 2
Originally, I had wanted to do a flash poetry project, but flash was not easily accessible nor familiar to me, so that led me
to settle on a program which I already owned: Key Note. For those of you unfamiliar with Key Note, it is basically Mac's version of Power Point. I had used Power Point before, but never Key Note so this was a new experience for me that involved much experimentation. The poem I chose is an
original poem that I wrote a few weeks ago for my Advanced Poetry Writing class and inspired by a rainy day. It is my voice reading the poem in the first
slide. I then deconstructed the poem in the following slides, taking each line and attaching images and sounds to them. The images and sounds I sourced from the internet. I converted
the original file in Key Note to a quick time version that can be played as a movie. It is interactive in the sense that the audience must click through in order to move through the slides; it is also interactive because it involves more than one sense. In order for the reader to fully experience this work, he/she must use their reading capabilities as well as view the images, hear the sounds, click through the slides, and access the hyperlink.
The only instruction for this is to turn up your volume and enjoy!
The only instruction for this is to turn up your volume and enjoy!
Monday, April 1, 2013
E-lit Review: Girls' Day Out
For my E-literature Review assignment I chose Girls' Day Out by Kerry Lawrynovicz.
The E-Literature Collection Vol. 1 describes this work as: "A block of text that on first appearance seems to be a simple description of a pleasant outing reveals a grisly story of murder as words successively fade away. This work makes innovative use of simple combinatory techniques, reminiscent of Burroughs cut-ups, to reflect on a real-life tragedy."
The author herself describes this work as: "...a work in Flash format. It contains three separate but related sections: the title prose poem, "Girls' Day Out"; the author's note on the poem; and "Shards," a poem composed from phrases found in articles in the Houston Chronicle that covered the events that inspired the poem"
In order to experience this work of literature, I first had to download the file onto my computer. The first time I tried to open the file, it came up as random text/code that was completely unreadable, and obviously not what I was meant to be looking at. With the help of my finace (who is much more tech savvy than I am) I downloaded a program called Stuffit Expander and could then open the file with this program.
The file opens in a window displaying four images. The largest image is of dry vast land, like something one would find out west. The title "Girls' Day Out" is displayed. Three other images are displayed. The top one is of a horse's body and legs (the horse is saddled). The one to the left is of the same horse's neck and reins with a hand petting the horse. The bottom image is of the horses head.
Once I pass my cursor over one of the three images, the photographs inverts itself to look like a photographic negative and another title is displayed. For the top image it is "Poem", the left image is "Author's Note", and the bottom image is "An Unearthing".
I click on the image entitled "Poem" and the screen transforms to a black background with white text. This is a poem entitled "Girls' Day Out" but it looks like prose upon first glance. I mistakenly click the screen in trying to copy the text and this causes the words to fade and show me other words from the poem. This happens a few times and every time it comes back to the original text. Then at the end it says: "For the Calder Road murder victims" and slowly displays each girl's name. There is no sound but silence.
I then click on "Author's Note" which transforms the screen again into a plain black background with white text. This time it is a description of the author's life and connection to the incident which the poem is about. There are also two photographs, one of the author on a horse, and one of her sister on a horse. Clicking either of the pictures brings me back to the main page.
Finally, I click on "An Unearthing". This brings me to a screen that has white background and black text. This is a poem entitled "Shards from The Houston Chronicle" and seems to be words and phrases that the author extracted from the article about the incidents. Once I click on the words they transform into another poem. This happens a few times, then the last time it brings me back to the main page. During the transformation of the words, a feeling of something decomposing and deteriorating is what I experience. The transformation of the words also produces a feeling of things become clearer as the words come together, but not clear enough as the snippets aren't enough to form a whole story; much like the solving of a mystery or a murder. The author repeats a lot of words, most notably "a belt tied around a tree" and "a human molar".
The poem is about the author's experience riding with her sister at Star Dust Trail Rides in League City-Texas, where later the bodies of multiple murder victims, all young women, were found. The feeling is eerie, the silence only adds to this, so much so that I felt myself getting chills while reading the poem. The transition of the words occurs so slowly that a feeling of suspense builds up inside me as I anticipate what might 'happen' next.
In the poem, it says six girls, but once the names are displayed, only the names of four girls are shown. Then in "An Unearthing" snippets from he articles mention the remains of up to 32 young women found on the land.
I found a few reviews of Kerry Lawrynovicz's work:
The first can be found here by Ashley Geiger.
The second can be found here by Leonardo Flores.
The third can be found here by Victoria Lang.
Another website in connection with the author lies here. This features a short biography of the author and has a link to Girls' Day Out.
Articles on the investigation of the murders in League City, Texas can be found below:
Hopes rise for new breaks in old 'killing fields' cases
Deaths in the 'Killing Fields' remain unsolved
The E-Literature Collection Vol. 1 describes this work as: "A block of text that on first appearance seems to be a simple description of a pleasant outing reveals a grisly story of murder as words successively fade away. This work makes innovative use of simple combinatory techniques, reminiscent of Burroughs cut-ups, to reflect on a real-life tragedy."
The author herself describes this work as: "...a work in Flash format. It contains three separate but related sections: the title prose poem, "Girls' Day Out"; the author's note on the poem; and "Shards," a poem composed from phrases found in articles in the Houston Chronicle that covered the events that inspired the poem"
In order to experience this work of literature, I first had to download the file onto my computer. The first time I tried to open the file, it came up as random text/code that was completely unreadable, and obviously not what I was meant to be looking at. With the help of my finace (who is much more tech savvy than I am) I downloaded a program called Stuffit Expander and could then open the file with this program.
The file opens in a window displaying four images. The largest image is of dry vast land, like something one would find out west. The title "Girls' Day Out" is displayed. Three other images are displayed. The top one is of a horse's body and legs (the horse is saddled). The one to the left is of the same horse's neck and reins with a hand petting the horse. The bottom image is of the horses head.
Once I pass my cursor over one of the three images, the photographs inverts itself to look like a photographic negative and another title is displayed. For the top image it is "Poem", the left image is "Author's Note", and the bottom image is "An Unearthing".
I click on the image entitled "Poem" and the screen transforms to a black background with white text. This is a poem entitled "Girls' Day Out" but it looks like prose upon first glance. I mistakenly click the screen in trying to copy the text and this causes the words to fade and show me other words from the poem. This happens a few times and every time it comes back to the original text. Then at the end it says: "For the Calder Road murder victims" and slowly displays each girl's name. There is no sound but silence.
I then click on "Author's Note" which transforms the screen again into a plain black background with white text. This time it is a description of the author's life and connection to the incident which the poem is about. There are also two photographs, one of the author on a horse, and one of her sister on a horse. Clicking either of the pictures brings me back to the main page.
Finally, I click on "An Unearthing". This brings me to a screen that has white background and black text. This is a poem entitled "Shards from The Houston Chronicle" and seems to be words and phrases that the author extracted from the article about the incidents. Once I click on the words they transform into another poem. This happens a few times, then the last time it brings me back to the main page. During the transformation of the words, a feeling of something decomposing and deteriorating is what I experience. The transformation of the words also produces a feeling of things become clearer as the words come together, but not clear enough as the snippets aren't enough to form a whole story; much like the solving of a mystery or a murder. The author repeats a lot of words, most notably "a belt tied around a tree" and "a human molar".
The poem is about the author's experience riding with her sister at Star Dust Trail Rides in League City-Texas, where later the bodies of multiple murder victims, all young women, were found. The feeling is eerie, the silence only adds to this, so much so that I felt myself getting chills while reading the poem. The transition of the words occurs so slowly that a feeling of suspense builds up inside me as I anticipate what might 'happen' next.
In the poem, it says six girls, but once the names are displayed, only the names of four girls are shown. Then in "An Unearthing" snippets from he articles mention the remains of up to 32 young women found on the land.
I found a few reviews of Kerry Lawrynovicz's work:
The first can be found here by Ashley Geiger.
The second can be found here by Leonardo Flores.
The third can be found here by Victoria Lang.
Another website in connection with the author lies here. This features a short biography of the author and has a link to Girls' Day Out.
Articles on the investigation of the murders in League City, Texas can be found below:
Hopes rise for new breaks in old 'killing fields' cases
Deaths in the 'Killing Fields' remain unsolved
Tuesday, March 26, 2013
While Reading "A Bibliographic Overview of Electronic Literature"
During my reading of Amanda Starling's "A Bibliographic Overview of Electronic Literature", I took away many points and quotes which I've listed below:
"Electronic literature is born-digital literary art" This made me wonder when was e-lit born? What was it's root? How did it develop?
Her article was a survey of different books and texts that explored Electronic Literature. Of one of the texts she says, "The sixteen essays here work toward an aesthetic of electronic literature by contemplating the question of the new literary quality that emerges when a work is born digital" When something is born digital it creates a new quality, a unique aesthetic that is added to our idea of literature in general.
"Bootz offers a procedure for studying a digital literary work that separately examines the levels of a work―its surface level, communicative level, and meta-level―that together provide an entry point for understanding its meaning, its creative (and creating) aesthetic, and the relations it enacts between writer, reader, and sign." There are many ways one can approach a work of electronic literature, and to fully understand these works we must explore them from different angles and at different levels. On the surface, many of these electronic works may seem simplistic, but in reality they are very complex and in order to understand them they require deep probing.
"By dismissing the premise that electronic literature is literature electrified, he points toward a method of analysis that rejects the separation of the electronic medium from the work’s literariness and instead appreciates that the literary is indeed inseparable from the mediated, performative (inter)face of the unified work." It is easy to see electronic literature simply as 'literature electrified'. In fact, that was definitely what I thought of before I took this class. When I heard the term 'electronic litearature' I imagined e-books, fan fiction, and blogs. Never did I think it would be a whole other world, a new art form, to explore.
“What might constitute a paradigmatic method for analyzing digital artworks?” In order to analyze digital artworks we have to come at them with a whole new mind set. If we limit ourselves to our old understand of 'art' or 'literature' we will not be able to appreciate nor understand them.
"Simanowski proposes an e-lit reading model that begins from the premise that “the first purpose that a digital work serves is as an act of creative expression”" If we think of these works more as acts of creative expression than we can be less judgmental of them. If we approach them the way we would approach a piece at the MoMA, we might not understand them, but at least we can appreciate them for what they are.
"He believes a digital work is “fundamentally different from and more complex than a material or printed work” and that it “deserves a broad, extratextual reading of its creative context” à la New Criticism that effects a close reading extending beyond the text and its screen(s)" Again, a new mind set is required in order to read these digital works.
"If we are too tightly or too tidily contained within a particular theoretical discourse, we chance ignoring significant or critical elements of what should be a hybrid episteme for the study and teaching of e-lit." We must be open-minded in order to realize the important aspects of this new genre. We cannot ignore it because if we do we ignore the enormous impact it could have.
"How do we move beyond the question of the literary to include interdisciplinary approaches, like those of semiotics, linguistics, neuroscience, computer science, performance/actor theories, in our search for a theory of e-lit works?" One of my favorite parts of electronic literature is the fact that it involves so much more than just words. It is interactive, it involves technology, art, creativity, etc etc. There is so much potential for interdisciplinary approaches, which makes it very exciting.
"We must teach our students, and ourselves, not only to read digital literature critically but also to read literature digitally." We have to keep up with the times as the times keep rolling.
"It is important that we learn―and teach―new ways of reading that break (into) these habits and facilitate digital literary reading skills that appreciate the literary systems and structures created when literatures become modernly transmediated" Studying electronic literature is all about re-learning how to read, analyze, criticize, and appreciate a work of literary art.
"Electronic literature is born-digital literary art" This made me wonder when was e-lit born? What was it's root? How did it develop?
Her article was a survey of different books and texts that explored Electronic Literature. Of one of the texts she says, "The sixteen essays here work toward an aesthetic of electronic literature by contemplating the question of the new literary quality that emerges when a work is born digital" When something is born digital it creates a new quality, a unique aesthetic that is added to our idea of literature in general.
"Bootz offers a procedure for studying a digital literary work that separately examines the levels of a work―its surface level, communicative level, and meta-level―that together provide an entry point for understanding its meaning, its creative (and creating) aesthetic, and the relations it enacts between writer, reader, and sign." There are many ways one can approach a work of electronic literature, and to fully understand these works we must explore them from different angles and at different levels. On the surface, many of these electronic works may seem simplistic, but in reality they are very complex and in order to understand them they require deep probing.
"By dismissing the premise that electronic literature is literature electrified, he points toward a method of analysis that rejects the separation of the electronic medium from the work’s literariness and instead appreciates that the literary is indeed inseparable from the mediated, performative (inter)face of the unified work." It is easy to see electronic literature simply as 'literature electrified'. In fact, that was definitely what I thought of before I took this class. When I heard the term 'electronic litearature' I imagined e-books, fan fiction, and blogs. Never did I think it would be a whole other world, a new art form, to explore.
“What might constitute a paradigmatic method for analyzing digital artworks?” In order to analyze digital artworks we have to come at them with a whole new mind set. If we limit ourselves to our old understand of 'art' or 'literature' we will not be able to appreciate nor understand them.
"Simanowski proposes an e-lit reading model that begins from the premise that “the first purpose that a digital work serves is as an act of creative expression”" If we think of these works more as acts of creative expression than we can be less judgmental of them. If we approach them the way we would approach a piece at the MoMA, we might not understand them, but at least we can appreciate them for what they are.
"He believes a digital work is “fundamentally different from and more complex than a material or printed work” and that it “deserves a broad, extratextual reading of its creative context” à la New Criticism that effects a close reading extending beyond the text and its screen(s)" Again, a new mind set is required in order to read these digital works.
"If we are too tightly or too tidily contained within a particular theoretical discourse, we chance ignoring significant or critical elements of what should be a hybrid episteme for the study and teaching of e-lit." We must be open-minded in order to realize the important aspects of this new genre. We cannot ignore it because if we do we ignore the enormous impact it could have.
"How do we move beyond the question of the literary to include interdisciplinary approaches, like those of semiotics, linguistics, neuroscience, computer science, performance/actor theories, in our search for a theory of e-lit works?" One of my favorite parts of electronic literature is the fact that it involves so much more than just words. It is interactive, it involves technology, art, creativity, etc etc. There is so much potential for interdisciplinary approaches, which makes it very exciting.
"We must teach our students, and ourselves, not only to read digital literature critically but also to read literature digitally." We have to keep up with the times as the times keep rolling.
"It is important that we learn―and teach―new ways of reading that break (into) these habits and facilitate digital literary reading skills that appreciate the literary systems and structures created when literatures become modernly transmediated" Studying electronic literature is all about re-learning how to read, analyze, criticize, and appreciate a work of literary art.
Tuesday, March 19, 2013
Project 1- Literary Hypertext
Building this hypertext project has been quite a journey! At first, I was intimidated by the immensity of what was laid before me which inhibited me from coming up with a starting point. Then, after talking it over with a classmate I had an inspiration and a concept for a story came to mind. From there I began to map out how I wanted the story to connect and interconnect. I made myself a compass of sorts and modeled the story off of that. This project is nowhere near finished although it is "due" today. I consider it an ongoing work, and as I learn more about this genre of Electronic Literature, and Electronic Literature in general, I hope to expand on it.
Abstract:
The Cabin is an interactive hypertext work of electronic literature inspired by a scene between three individuals stuck in a cabin together. Each character's story is intertwined with the others'. As you navigate through this work, you may get lost, as the characters in the story are lost in the woods. Luckily they have found the cabin, which is both your starting point and their present state. The Cabin takes you through Alexia, Beiron, and Code's stories. You can experience each character's story from their own perspective, as well as through the perspective of the narrator.
Experience The Cabin here
Suggestions:
As you go through the story, freely explore and don't be afraid to get a little lost. You have your compass (the site map) to guide you, and you can always get back to the cabin (the homepage).
The Lexia:
This hypertext work consists of 33 pages of lexia (some of which are still unfinished). They are as follows-
Schematic:
Below is a picture of the original concept along with the compass like map I created and modeled this work after-
Abstract:
The Cabin is an interactive hypertext work of electronic literature inspired by a scene between three individuals stuck in a cabin together. Each character's story is intertwined with the others'. As you navigate through this work, you may get lost, as the characters in the story are lost in the woods. Luckily they have found the cabin, which is both your starting point and their present state. The Cabin takes you through Alexia, Beiron, and Code's stories. You can experience each character's story from their own perspective, as well as through the perspective of the narrator.
Experience The Cabin here
Suggestions:
As you go through the story, freely explore and don't be afraid to get a little lost. You have your compass (the site map) to guide you, and you can always get back to the cabin (the homepage).
The Lexia:
This hypertext work consists of 33 pages of lexia (some of which are still unfinished). They are as follows-
Schematic:
Below is a picture of the original concept along with the compass like map I created and modeled this work after-
Tuesday, March 5, 2013
Hypertext Project
So, we've started working on our hypertext projects in class. Last week I had no idea where to go with this project and was feeling quite intimidated by all the requirements.
After talking with Joe about his idea, I was inspired! An idea came to me and I immediately began to sketch it out.
My piece of electronic fiction will be a story about 3 people stuck in a found cabin during a sudden snowstorm. Each person will tell the story from their own point of view in addition to the narrator who will tell the story from an objective point of view. In this way I will play with the idea of perspective.
The three people will be one woman and two men: Alexia, Beiron, and Code. Through their experiences I will explore their relationships, history, personalities, and dynamic.
I'm still a bit lost when it comes to building the hypertext portion of this work, but hopefully during our workshop in class I'll learn and build something!
After talking with Joe about his idea, I was inspired! An idea came to me and I immediately began to sketch it out.
My piece of electronic fiction will be a story about 3 people stuck in a found cabin during a sudden snowstorm. Each person will tell the story from their own point of view in addition to the narrator who will tell the story from an objective point of view. In this way I will play with the idea of perspective.
The three people will be one woman and two men: Alexia, Beiron, and Code. Through their experiences I will explore their relationships, history, personalities, and dynamic.
I'm still a bit lost when it comes to building the hypertext portion of this work, but hopefully during our workshop in class I'll learn and build something!
Thursday, February 14, 2013
Twelve Blue
Some of the common themes in this work that I found were: the color blue, rivers/water, flow/fluidity, winter/Christmas
I also noticed mention of retrovirus and virology. I detected themes of Freedom vs. Constraint, Death, love and lust.
Some characters I encountered were Samantha and Lisle, a Daughter and Mother. Javier-Lisle's lover, and Javier's daughter Beth.
The first strategy I employed in my approach was to click the number links from the home page. This strategy made me feel safe and kept me linked to a "home base"
Reading this work was like piecing together a dream, little by little images were formed in my mind while the details fell into place.
I saw "Route 9" in the town as a metaphor for navigating through Twelve Blue. The work was often self-referential while also being a beautiful poetic work.
While employing my first strategy, I found that the hyperlink "Begin" on homepage and ".1..." lead to the same page entitled "How she knew".
Navigating through this work was like putting together a puzzle out of many pieces.
"Follow me before the choices disappear" was like a secret link because it blended in with the background and I could not see it unless I passed my cursor over it to highlight it.
When I could go no further with my first strategy I came up with a second strategy, which was to click the textual links within each page to go to another page. This venture made me feel like I was on a mystical journey, slowly uncovering a mystery. After a while of clicking on the textual hyperlinks, I was led to an image. Which lead me to think, "Now what?! Onto another strategy?"
My third strategy consisted of randomly clicking the many different threads on the right bar of the page. However, the threads' positions changeed every time, making it difficult to form a pattern.
When I encountered another textual link, I had to stop and consider whether I should go back to strategy #2 or keep on with #3.
Some themes others picked up on and shared during our class discussion included: memory, reflection esp through relationships and generations, and perception.
Some of the characters/relationships found were: Lisle, Samantha, Javier, Beth, Lee, Lisa, Mary Reily, Flossie, Ed Stanko, deaf dead boyfriend, Eleanor, Henry Stone, Dolores Peters.
Everyone encountered something different in exploring this work, which made me think that it offers endless possibilities!
I also noticed mention of retrovirus and virology. I detected themes of Freedom vs. Constraint, Death, love and lust.
Some characters I encountered were Samantha and Lisle, a Daughter and Mother. Javier-Lisle's lover, and Javier's daughter Beth.
The first strategy I employed in my approach was to click the number links from the home page. This strategy made me feel safe and kept me linked to a "home base"
Reading this work was like piecing together a dream, little by little images were formed in my mind while the details fell into place.
I saw "Route 9" in the town as a metaphor for navigating through Twelve Blue. The work was often self-referential while also being a beautiful poetic work.
While employing my first strategy, I found that the hyperlink "Begin" on homepage and ".1..." lead to the same page entitled "How she knew".
Navigating through this work was like putting together a puzzle out of many pieces.
"Follow me before the choices disappear" was like a secret link because it blended in with the background and I could not see it unless I passed my cursor over it to highlight it.
When I could go no further with my first strategy I came up with a second strategy, which was to click the textual links within each page to go to another page. This venture made me feel like I was on a mystical journey, slowly uncovering a mystery. After a while of clicking on the textual hyperlinks, I was led to an image. Which lead me to think, "Now what?! Onto another strategy?"
My third strategy consisted of randomly clicking the many different threads on the right bar of the page. However, the threads' positions changeed every time, making it difficult to form a pattern.
When I encountered another textual link, I had to stop and consider whether I should go back to strategy #2 or keep on with #3.
Some themes others picked up on and shared during our class discussion included: memory, reflection esp through relationships and generations, and perception.
Some of the characters/relationships found were: Lisle, Samantha, Javier, Beth, Lee, Lisa, Mary Reily, Flossie, Ed Stanko, deaf dead boyfriend, Eleanor, Henry Stone, Dolores Peters.
Everyone encountered something different in exploring this work, which made me think that it offers endless possibilities!
Tuesday, February 12, 2013
Navagating Electronic Literature
"Navigation
is an element of electronic literature that uniquely affects the ways
in which we read and interact with digital textuality. Unlike print
literature, electronic literature does not consist of stable, inscribed
marks on a print page; rather, it emerges as a processural performance
across codes and circuitry within the computer and in response to
interactions from the reader." A quote from Navigating Electronic Literature by Jessica Pressman.
Truly, navigating this new form has proved to be one of its challenges for me. It is something so different from a traditional piece of literature, and it must be approached in a different way as well.
"Navigation is not just how readers move through electronic literature but how they read digital works. When and how the reader inputs a command, whether it is a mouse-click or a typewritten word, this action affects the work’s performance and the reader’s engagement with it."
Electronic literature, and the means by which we interact with it as readers, quantifies our understanding. Whereas a reader's interaction with traditional literature happens mostly in the mind and is difficult to measure, a reader's interaction with electronic literature can be measured by the rate at which they click a button, type a word, etc. Electronic literature forces the reader to interact with the work not only through our thoughts, but through our physical actions as well.
"How one navigates a hypertext determines what one reads and in which order." Everyone experiences a literary work differently, but now the difference can be measured and tracked by the means of how one physically navigates through a hypertext work. Not only are the readers each experiencing something different through their individual minds, they are also coming at the story in a completely different way depending on where/what/how they click through it.
It is as if electronic literature has taken what could only ever happen in someone's individual mind and made it accessible for all to experience.
"Navigating a nonlinear narrative such as a hypertext, or a related form like Andrews’s stir frys, demonstrates how electronic literature challenges expectations associated with and codified around print-based reading practices." As I mentioned in my previous post, electronic literature challenges the concepts we have formed as readers of traditional literature. Those concepts cannot be brought into the electronic experience because they often do not apply.
For example, "Since hypertexts are structured as networks rather than linear plots, they lend themselves to openness and disorientation." There is no linear story; a hypertext can bring you round and round in circles without even ever ending. This can be a difficult concept to wrap one's mind around (it certainly is for me) because we are so used to linear works.
Truly, navigating this new form has proved to be one of its challenges for me. It is something so different from a traditional piece of literature, and it must be approached in a different way as well.
"Navigation is not just how readers move through electronic literature but how they read digital works. When and how the reader inputs a command, whether it is a mouse-click or a typewritten word, this action affects the work’s performance and the reader’s engagement with it."
Electronic literature, and the means by which we interact with it as readers, quantifies our understanding. Whereas a reader's interaction with traditional literature happens mostly in the mind and is difficult to measure, a reader's interaction with electronic literature can be measured by the rate at which they click a button, type a word, etc. Electronic literature forces the reader to interact with the work not only through our thoughts, but through our physical actions as well.
"How one navigates a hypertext determines what one reads and in which order." Everyone experiences a literary work differently, but now the difference can be measured and tracked by the means of how one physically navigates through a hypertext work. Not only are the readers each experiencing something different through their individual minds, they are also coming at the story in a completely different way depending on where/what/how they click through it.
It is as if electronic literature has taken what could only ever happen in someone's individual mind and made it accessible for all to experience.
"Navigating a nonlinear narrative such as a hypertext, or a related form like Andrews’s stir frys, demonstrates how electronic literature challenges expectations associated with and codified around print-based reading practices." As I mentioned in my previous post, electronic literature challenges the concepts we have formed as readers of traditional literature. Those concepts cannot be brought into the electronic experience because they often do not apply.
For example, "Since hypertexts are structured as networks rather than linear plots, they lend themselves to openness and disorientation." There is no linear story; a hypertext can bring you round and round in circles without even ever ending. This can be a difficult concept to wrap one's mind around (it certainly is for me) because we are so used to linear works.
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