![]() It can also include references to QuickTime movies, and can have a sound attached to it (but see the bug list later on).Įvery snippet has a name, as distinct from the actual text constituting the snippet. The name cannot be styled, it must be shorter than 32 characters, and it helps if it’s unique, though this isn’t required. Storyspace arranges your text snippets in a hierarchy – that is, some snippets can be at the top level, and some snippets can be subordinate to other snippets. ![]() When viewing the hierarchy, you see the names of snippets you can drag a name to rearrange the hierarchy, or double-click it to reveal the snippet’s text. ![]() You get not one, not two, but four different ways of viewing the snippet hierarchy:Īs an outline. The names of the snippets are the lines of the outline snippets with subordinate snippets have a discovery triangle to their left, to show or hide them, and there is basic arrow-key navigation.Īs a chart. This looks like a genealogical diagram turned sideways. Grigar will be curating the exhibit, “Tear Down the Wall: The Art and Science of Hypertext,” at the 2019 ACM Hypertext Conference taking place 17–20 September 2019 at Hof University, Germany.The top-level snippet names form a column at the left. She also directs the Electronic Literature Lab at WSUV. Buchanan Distinguished Professorship by her university. She is President of the Electronic Literature Organization, Associate Editor of Leonardo Reviews and Literary Studies in the Digital Age ( LSDA), and a series editor for Electronic Literature, with Bloomsbury Press. With Stuart Moulthrop (U of Wisconsin Milwaukee) she developed the methodology for documenting born digital media, a project that culminated in an open-source, multimedia book, entitled Pathfinders (2015), and book of media art criticism, entitled Traversals (2017), for The MIT Press. She also curates exhibits of electronic literature and media art, mounting shows at the British Computer Society and the Library of Congress and for the Symposium on Electronic Art (ISEA) and the Modern Language Association (MLA), among other venues. She has authored 16 media works such as “Curlew” (2014), “A Villager’s Tale” (2011), the “24-Hour Micro E-Lit Project” (2009), “When Ghosts Will Die” (2008), and “Fallow Field: A Story in Two Parts” (2005), as well as 55 scholarly articles and four books. ![]() Troy always falls, yet within the devastation we may perhaps find some scope for hope and for courage.ĭene Grigar is Professor and Director of The Creative Media & Digital Culture Program at Washington State University Vancouver whose research focuses on the creation, curation, preservation, and criticism of Electronic Literature, specifically building multimedial environments and experiences for live performance, installations, and curated spaces desktop computers and mobile media devices. The school story of the 20th century ends in the dissolution of the school. The school story of the 19th century ends in graduation. How can we compose an exciting story that is also non-sequential? How can we open the story to the reader’s interaction and choice without turning it into a mere game in which the reader herself is the protagonist? The first generation of hypertext writers sought to break the conventional narrative line to create something bright and new, and Those Trojan Girls shoulders the humbler task of learning how to turn the levers of the Victorian sentimental novel in this new world. Those Trojan Girls is a sprawling hypertext fiction that explores some open questions about the nuts-and-bolts engineering of non-sequential literary tales. By Spring, no one will be able to bear thinking about what happened to Polly, but of course she doesn’t know that yet. The seniors are glad to see their friends: there’s Cassandra (whom no one can believe) talking to Polly Xena (the new headmaster’s inexplicable choice for Head Girl). Students return once more to the halls of Hill Academy, an elite boarding school, as it resumes its customary rites and rhythms once more in this first winter of The Occupation.
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