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Streams are both literally and metaphorically the central image of this work. Streams of consciousness, and of data. Images of and references to rivers flow through the interface. Many of the texts I am inserting into the original twelve essays of TCR 2-50 refer to rivers and/or to writing. TCR 2-50 tackles a broad range of topics in the realm of new media and new technologies - from biotechnology to performance art - yet themes of writing and language are persistent throughout all the essays and thus form the focus of my response. The texts of TCR 250 are the raw data feeding this re-reading endeavour. Whatever the texts say or mean or refer to, as far as RSS is concerned they remain just that: texts

What I'm onto here is writing and researching and thinking about hypertext fiction. For those of you familiar with it already, enough said--you may want to go back to the Contents. For those of you unfamiliar with it, hypertext fiction (aka hyperfiction, interactive fiction, nonlinear fiction) is a new art form that while not necessarily made possible by the computer was certainly made feasible by it. Its creators make use of hypertext--of which the Web is only one widespread albeit limited incarnation--to create fiction with many features uncharacteristic of print fiction: multiple paths through the same text; multiple endings (and beginnings); questions posed to the reader which, once answered, influence what the reader will read; audiovisual attachments; navigable maps; and so on and so on. Readers seeking more extensive definitions of hypertext fiction are invited to browse through the Theory and Criticism section or, better yet, simply start reading a few works--artists always outstrip their would-be definers.

Transliteracy and polyphonic narrative: a case study "Judith Aston is a specialist in cross-cultural communication and digital media practice. She was a pioneer in the emergent multimedia industry in the mid-1980s, working with the BBC Interactive Television Unit, Virgin Publishing, Apple Computers and the Soros Open Society Institute. Based in Bristol, she now divides her time between teaching and practice-led research in the Creative Arts Faculty at the University of the West of England. " Judith Aston "Using Digital Media to Create a Multilayered Associative Narrative "

Canadian author Michael Winter, who wrote The Big Why, will release excerpts of his next novel through a series of posts on the Internet site Facebook.

Diese Seite enthält Informationen über die Aktivitäten der Firma HOIO. HOIO ist das weltweit erste Import-Geschäft für Produkte der fiktiven Insel Santa Lemusa. Hier einige neue Beiträge aus dem Inhalt der Seite:

Hamlet told in the form of a Facebook Newsffed

As we journey on what Dante called "our life's way", we are all creating private maps and organising experiences and memories along highly personal geographies. In return, maps invite travel, they inspire journeys. Each place-name is a prompt for a story. We each project our inner-self into this fictional territory of possibilities. Each crossroad offers a multitude of departure points for the unknown, for the unseen, for the untold desires. The map of Inward destinations summons the spectator to accommodate and project their own experiences onto it, and conform it to their reality.