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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.

'Flight Paths' seeks to explore what happens when lives collide - an airplane stowaway and the fictional suburban London housewife, quoted above. This project will tell their stories. 45 Through the fiction of these two lives, and the cross-connections and contradictions they represent, a larger story about the way we live today will emerge. The collision between the unknown young man, who will be both memorialised and brought back to life by the piece, and the London woman will provide the focus and force for a piece that will explore asylum, immigration, consumer culture, Islam and the West, as well as the seemingly mundane modern day reality of the supermarket car park itself. This young man's death/plummet will become a flight, a testament to both his extreme bravery and the tragic symbolism of his chosen route to the West. The initial goal of this project is to create a work of digital fiction, a 'networked book', created on and through the internet.

In the 21st Century, readers will turn on and interact with literature that is displayed on affordable, book-sized computers. Electronic fiction forms will include "narrabases" (nonsequential novels that rely on large computer databases); "narrative data structures" that elegantly organize fictional information on eye-pleasing computer screens; complex narrative investigations based on the adventure story model developed in computer games; and stories told collaboratively by groups of writers in online communities. Computers may even store their own observations and use them to tell their own stories in their own words.

Jack is a monster; a psychotic Twitter stalker who likes Prokofiev and liver. Jack is a fictional character, if he follows you, you might become part of his ghastly tale.

With hundreds of works of computer mediated fiction or poetry available either on disk, largely through the Eastgate Systems catalog, or on the net, hypernarrative, its definition as open-ended as the many-faceted reading experience it engenders, is a primary way of storytelling in the era of the World Wide Web.

Yesterday I discovered Why Some Dolls Are Bad, a project by Vancouver-based artist and curator Kate Armstrong, that utilizes Facebook as a means of generating and distributing content within the space of a permutational graphic novel. The piece collects images from a tag-constrained stream of flickr images and combines them with text written by Armstrong.

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:

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.