Trincheras de Mequinenza by Félix Remírez (2007) is an epistolary diary of a Republican soldier during the Ebro War. The work includes multimedia elements -photographies of real facts and landscapes were the conflict took place and songs from that period-and multi-windows in which historical descriptions of facts and biographies of the most important people in the battle appear.
Trincheras de Mequinenza de Félix Remírez (2007) es el diario epistolar de un soldado republicano durante la batalla del Ebro. La obra aúna el texto con elementos multimedia (fotografías de hechos reales y paisajes donde se desarrolló el enfrentamiento así como canciones de la época) y multi-ventanas en las que van apareciendo descripciones históricas de los hechos y biografías de las personas más relevantes de la batalla.
The reader finds, in the first level of reading a letter of Eugenia Vilasans, overlapped with a photography of her. The letter was written in 1926 and stayed hidden until she died, she confesses her adulturey in the letter. After this introduction a link invites to recompose her story, there are disorganised fragments. The image is a metaphor of the hypertext: postcards, newspapers cuts, pages from personal diaries of different dates, letters of the lover conforming the plot. It is an epistolary story that must be assembled like a puzzle.
El lector se encuentra, en un primer nivel de lectura con una carta de Eugenia Vilasans, que se superpone a una fotografía en sepia de ella. La carta fue escrita en 1926 y permaneció escondida hasta que muriera la autora, quien confiesa la historia de su adulterio. Después de esta introducción, un link invita a acudir al escritorio de Vilasans para recomponer la historia, en donde se exponen, a modo de papeles sueltos, los fragmentos dispersos. La imagen resulta una buena metáfora del hipertexto. Postales, recortes de periódicos, hojas de diarios personales con diferentes fechas, cartas del amante, conforman la trama. Un relato epistolar que debe ensamblarse con un puzzle.
The first part of this horror story about a series of identical houses is told in a series of emails received from Mark Condry, who has received a newspaper clipping in the mail describing a double murder and suicide committed by an old friend, Andrew. Mark decides to investigate, but disappears after sending a series of text messages from a house that may have changed Andrew completely. The second section of the story is told in a series of "updates" on the website with links to various blogs, with extensively interlinking comments.
Heisserer sold a version of the story to Warner Bros. in 2005.
Yes, really is a perverse counterpoint about listening, memory and internal and external realities. Three characters, in various ways deaf or blind to each other but each in the same time and place, talk separately — to you, dear reader. While these people share their interlocking stories from different perceptions you, listening to their individual narratives, put it all together. What you’ll come up with is your interpretation. Experience is like that, right? Yes, really.
author's home page: www.novamara.com
Yes, Really was shortlisted for the inaugural New Media Writing Prize, in 2010.
Yes, really was made using php/mySQL. It is an email-delivered work. Users may need to ensure that the domain 'yesreally.com' is on their safe senders list.
Arguably the first work of electronic literature, this 1952 program used Alan Turing's random number generator to create combinatory love letters on the Manchester Mark I computer. While the output may not be of high literary quality, Strachey discovered and implemented the basic the basic structures of combinatory literature, at a very early point in history.
An email novel that forms a sequel to Rob Wittig's Blue Company, originally sent out in emails to a small group of readers over the course of the summer of 2002, and later published on the web as an archive of emails in August 2003 by frAme Journal of Culture and Technology.
Scenario and characters based on Rob Wittig's Blue Company. Some writing and images contributed by Rob Wittig.
A novel told in email. Readers subscribed and received at least one e-mail per day for the month of May 2002. Blue Company is part one of a two part fiction; the second part is "Kind of Blue" by Scott Rettberg. Blue Company's e-mails are from a young marketing guy, Berto, who has gotten a really bad job transfer. He's been transferred to Italy, which is great, but he's also been transferred to the 14th century, which is dangerous and uncomfortable. The e-mails are nominally addressed to a woman Berto met shortly before his departure, and as he courts her we learn the story of his travels with a small group of 21st century corporate mercenaries called the "Blue Company" toward a fateful rendezvous beyond Milan. The e-mails are illustrated by hand since, of course, there were no cameras in the late middle ages.
Text and Illustrations: Rob Wittig
Originally written under the auspices of the Xerox PARC Artist in Residence Program, and published in 1996 by Eastgate Systems, Forward Anywhere is a hypertextual narrative written by new media poet Judy Malloy and then Xerox PARC hypertext researcher Cathy Marshall. Created when Malloy was an artist in residence at PARC, beginning in 1993, the collaborative narrative -- an exchange of the details of the lives of two women who work with hypertext -- unfolded via email over a year or so and then was somewhat fictionalizd and recontextualized into Forward Anywhere. "...each emerges from a particular history and sensibility, Malloy's from the postwar suburbs of Boston, Marshall's from California and the sixties. To pass from one of these moments to the other is to recognize the almost-repetition of emergent or autopoetic pattern, an experience that touches something very deep in the instinctual repertoire, perhaps demonstrating that software does speak to human identity after all," Stuart Moulthrop wrote in "Where to?", Convergence 3:3, Fall, 1997: 132-38. Forward Anywhere was also detailed in two papers: Judy Malloy and Cathy Marshall, "Notes on an Exchange Between Intersecting Lives", in: In Search of Innovation - the Xerox PARC PAIR Experiment, Craig Harris, ed., MIT PRESS, 2000 and Judy Malloy and Cathy Marshall, "Closure was Never a Goal in this Piece", in: Wired Women. Seal, 1996 ed. Cherny and Weise.pp. 56-70. It was exhibited at Xerox PARC as part of PARC's 25th Anniversary Celebration in 1995 and at Artemisia Gallery in Chicago in 1996
