hypertext poetry

Many essays about the hypertext poem, "True North," address Stephanie Strickland's use of color and maps, such as Deena Larsen and Richard Higgason's "An Anatomy of Anchors" and its instantiation into two distinct media forms, such as Joseph Tabbi's "Stephanie Strickland's True North: A Migration between Media." Strickland herself has written essays about the work, most notably "Quantum Poetics: Six Thoughts," where she reminds readers that her work "investigate[s] oscillation between image, text, sounds, and animation, both within and between hypertextually linked units" (32). This essay, therefore, takes a different tack from these excellent examples. It offers a discussion of the work's history of production, which is necessary for establishing valid information about versions and dates, and its mechanics because experiencing the hypertext poem will soon no longer be possible for readers. 

John Cayley reviews the Hypertext ‘97 Conference, which brought together representatives from corporate and academic sectors.

Apologies: This is not a ‘balanced’ review of the Hypertext ‘97 conference, but only, as Ted Nelson would put it, one particular, packaged, ‘point of view’. I haven’t named all the names I should have or even many and I have not explicitly acknowledged the herculean efforts of the many organizers. Readers are referred to the full published conference proceedings, The Eighth ACM Conference on Hypertext, edited by Mark Bernstein, Leslie Carr, and Casper Osterbye (New York: ACM, 1997). My perspective is that of a practitioner of literary cybertext. This piece was written quickly as a draft towards a (probably shorter) review of the conference which is to be published in the UK-based periodical (presently a quarterly newspaper) of ‘digitalartcritique’ entitled Mute.

This issue's CoverWeb explores the use of hypertext fiction and poetry, both as textual resources and as creative exercises in the classroom.

Beyond the boundaries of the book. The Italian literature in the digital age is the master thesis of Daniele Giampà, a student of Italian and Spanish philology at the university of Zurich. The analysis of the Italian digital literature is articulated in three main parts: history of the electronic literature, predecessors of electronic literature and the analysis of works of Italian digital literature written between 1997-2012. The selection of the works is based on a taxonomy elaborate in the introduction of the thesis.

The central arguments of the thesis are the creation of an analytical instrument for the digital context, that is the matrix composed of the dimension of narratology and the dimension of informatics, the demonstration of the analogies between print literature and electronic/digital literature and the innovations brought by new media to literature.