Nomadic Circles

A recurring theme of the book is that most of our media forms and practices are teleological. They are materially so, since they have physical real last pages and physical real last frames. Hypertext, radically, simply, and elegantly, matters perhaps most because by refusing or at least showing the possibility of discursive forms that are […]

Read more Nomadic Circles

Waves of Misjudged Wonder

Interestingly, in hypertext theory (and what I am noting here has been reprised also in theoretical writing on interactive cinema and more recently interactive documentary) there is little research that investigates how to write hypertextually. It is common for writing and making to be pushed to manuals, how-tos or collaborations with hopefully sympathetic developers and […]

Read more Waves of Misjudged Wonder

Endings (part one)

Softcopy is a material change to writing, perhaps the most significant material change to writing since the rise of popular literacy and the printing press in western Europe. The specificity of this change matters, for what I’m particularly interested in is the implications of this for writing largely because for humanities academic research it is […]

Read more Endings (part one)

Rock, Hard Place, The Open and Constrained Writing

It was Sunday night, and we were off the reservation down at Venus Bay, squatting in a friend’s holiday house. Venus Bay is a wild beach, facing Bass Strait and the Southern Ocean. The wind is always chilling, coming as it does more or less from Antarctica, and it is hemmed by ecologically recent sand […]

Read more Rock, Hard Place, The Open and Constrained Writing

Korsakow and Dense Nodes

In network media I discussed small world networks, dense nodes, and so on. A korsakow film is exactly this sort of structure. Below is something I wrote in 2011, reposting here as it should help people to understand Korsakow films as an architecture and structure that you do things with, and an architecture and structure […]

Read more Korsakow and Dense Nodes

Korsakow and Hypertext

Found this from a static site from 2010 or 2011. This is about Korsakow as hypertext, not the linear singular link node notion of hypertext that everyone who writes about interactive documentary thinks hypertext is, but the sort of hypertext that hypertext theorists and writers use everyday (for example with tools such as Storyspace or […]

Read more Korsakow and Hypertext

Memory Machines

Melbourne based (Swinburne) academic Belinda Barnet’s history of hypertext, ” Memory Machines: The Evolution of Hypertext ” is listed in hardback and Kindle at amazon. She’s interviewed all the key figures, and as far as I know this is the first history to be written.

Read more Memory Machines

The Triumvirate

The second is facets, where the ability porousness of the parts to itself are trivialised into menus of choice, even where such menus become fancy dots, mouse events, or some other way of making a menu appear to be anything but the menu that it is. This produces largely linear, radial pathways through material, much like the architecture of a 7-Eleven (put the key sellers, e.g. milk, at the back and have each aisle lead you through it, with the impulse purchases closest to the milk and the counter) which in so many ways betrays an anxiety of granularity, facets, and porousness.

Read more The Triumvirate

Temporality, Hypertext, New Media, a Will to Time

I come into hypertext via cinema studies , and my early research was all about the ways in which hypertextual linking are exactly the same sorts of things as filmic edits (performative, pretty much able to join anything to anything). … By that I mean I may return to the same node in a hypertext a second time, but by virtue of its reoccurrence, the way its meaning will now change, or the way in which its reappearance will now change how I understand the story as a whole, it is just not the same node.

Read more Temporality, Hypertext, New Media, a Will to Time