nonlinearity

By Thor Baukhol Madsen, 6 February, 2015
Publication Type
Language
Year
Pages
360-362
Record Status
Abstract (in English)

Nonlinear writing refers to (a) a writerly activity and (b) a specific type of written document. The first meaning relates to the strategy of composing a text in a nonsequential way by adding, removing, and modifying passages in various places of manuscript rather than producing it in one piece, from beginning to end. The second meaning refers to documents that are not structured in a sequential way, with a clear beginning, middle, and end. Rather, their macrostructure follows an associative logic, which assembles its composite elements (paragraphs, text chunks, or lexis) into a loosely ordered network. These networks offer readers multiple choices of traversing a document, which can facilitate specific types of reading strategies, such as keyword searches or jumping between main text and footnotes, and complicate others, such as reading for closure or completeness. (Source: Author's introduction)

By Maya Zalbidea, 31 July, 2014
Year
License
Public Domain
Record Status
Abstract (in English)

In this article Doménico Chiappe makes a list of suggestions to write hypermedia literature:
-A hypermedia narrative will be a novel if there are more than three plots;
-The structure will be nonlinear;
-The hypermedia writer develops a strategy to hit on the mind of the reader with minimum scenes, full of messages;
-It will be told with fragments that the author composes like a puzzle;
-Each chapter will have a beginning and ending;
-Free from the dictatorship of the paper, the links will drive to different narrative levels, that will tell real stories, textual contents, musical, animation, hemerographics, oral, photographical, audiovisual and plastic;
-Images wil be full of interpretations;
-The reader will be free to choose his/her own navigation;
-The quality of the work will compensate the reader for his/her interaction.

Abstract (in original language)

En este artículo Doménico Chiappe hace una lista de sugerencias a la hora de escribir literatura hipermedia:
• -Una narración hipermedia será novela si existen más de tres tramas;
• -La estructura será modular; no lineal;
• -El escritor hipermedia desarrolla una destreza para golpear la mente del lector con escenas mínimas, cargadas de mensajes;
• -Se narrará con fragmentos que el lector arma como un rompecabezas;
• -Cada capítulo contará una historia, con principio y final;
• -Libres de la dictadura del papel, los hipervínculos conducen a planos narrativos distintos, que narrarán sus propias historias: contenidos textuales, musicales, de animación, hemerográficos, orales, fotográficos, audiovisuales y plásticos;
• -Las imágenes serán ricas en interpretaciones;
• -Se permite el libre movimiento del lector, que tiene derecho de elegir sus itinerarios de navegación;
• -La calidad de la obra recompensará al lector por su interacción.

By Arngeir Enåsen, 4 October, 2013
Author
Language
Year
Appears in
Record Status
Abstract (in English)

Crossing the tools of fluid dynamics with those of literary criticism, Gwen Le Cor casts a new light on contemporary writing in new media. Unlike first generation, “classical” hypertexts that were non-linear in the sense of using linked textual elements, Le Cor sees Strickland and Lawson Jaramillo’s poem, slippingglimpse, as a more “contemporary” instance of nonlinear writing that can be viewed (literally) as a “complex, nonlinear turbulent system.”

Description in original language
Attachment
File
Iteration, you see (1013.04 KB)
Creative Works referenced
Description (in English)

A woman leaves her country. She tries to meet vacant spaces, to forget paths. She's considering the new territory. She's not stopping. A trip is more a seeking than an adventure. The decision to leave a country first comes from the will to break apart of the family circle, with the blind old uses, and over all, the will to get out from a cocoon, and take the way of self-modification.

Sequences are derogating, asking for answers, facing or not each other. A quest or an escape, or simply to be a Labyrinth, where images goes back to the target, in the central node of it's performance and its hopeless thoughts: the nude, the nude flesh of life.

(Source: 2002 ELO State of the Arts gallery)

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