User:Thijshijsijsjss/Gossamery/The New Media Reader/Nonlinearity and Literary Theory - Revision history

Thijshijsijsjss: Fix typo

2025-02-13T15:04:20Z

Fix typo

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	'''The corruption of the Critic'''		'''The corruption of the Critic'''
	This section discusses the effect the 'ontological ~~embaressment~~' has on the literary critic: if they can no longer read, how can they be a critic?		This section discusses the effect the 'ontological embarrassment' has on the literary critic: if they can no longer read, how can they be a critic?

	'''Problems of "Textual Anthropology"'''		'''Problems of "Textual Anthropology"'''

Thijshijsijsjss: Add links

2024-10-24T09:08:57Z

Add links

← Older revision		Revision as of 11:08, 24 October 2024
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	* Read on: July - August 2024		* Read on: July - August 2024
	* Read it physically in the studio, or on the bootleg library ~~(<span style="color~~:~~red;">TODO<~~/~~span>), or~~ with my annotations ~~(<span style="color:red;">TODO</span>)~~		* Read it physically in the studio, or on [https://hub.xpub.nl/bootleglibrary/read/504/pdf\|the bootleg library], or [https://pzwiki.wdka.nl/mediadesign/File:Nonlinearity_aarseth_annotated.pdf with my annotations].

	This 1994 essay by Espen J. Aarseth outlines a theory of nonlinear texts and places this in the discourse of contemporary literary theory. I stumbled upon it in ''The New Media Reader'', after reading the preceding chapters 12 and 50. By the merit of its placement in the book, that follows a chronological timeline, the alluring title, and Aarseth's name being connected to ludology, my interest was piqued. It is a dense text. Therefore, this entry will start with an attempt of a (subjective) (digestive) summary, after which more personal reflections are explored.		This 1994 essay by Espen J. Aarseth outlines a theory of nonlinear texts and places this in the discourse of contemporary literary theory. I stumbled upon it in ''The New Media Reader'', after reading the preceding chapters 12 and 50. By the merit of its placement in the book, that follows a chronological timeline, the alluring title, and Aarseth's name being connected to ludology, my interest was piqued. It is a dense text. Therefore, this entry will start with an attempt of a (subjective) (digestive) summary, after which more personal reflections are explored.

Thijshijsijsjss: Add (image link to) annotations

2024-08-19T17:10:52Z

Add (image link to) annotations

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			[[File:Nonlinearity_aarseth_annotated.pdf\|400px\|center\|thumb\|(click for a pdf with my annotations)]]

Thijshijsijsjss: Add some words on final section

2024-08-19T13:42:23Z

Add some words on final section

← Older revision		Revision as of 15:42, 19 August 2024
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	'''Problems of "Textual Anthropology"'''		'''Problems of "Textual Anthropology"'''
			The concluding section. After the death of the author, of the work and of the reading, this essay illustrates the death of the text. We are left with linear and nonlinear textualities. According to Aarseth, this change (an 'empirical revoliuton)' allows for an anthropological approach with the object of study a process (changing text) rather than a project (static text). He stresses that any theorist or critic that does study indeterminate cybtertext should do so not as an a posteriori investigator: they should be there when it happens. They must make it happen.

			The next question then becomes what separates this literary anthropology from (becoming a sub-discipline of) social anthropology? Aarseth notes that these fields have always had some goals in common. For fear of their seeming convergence becoming to fuzzy, he then gives a few conflicting examples.

			Finally, a summary much unlike this one is given.
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Thijshijsijsjss: Add words on ontological embarrassment

2024-08-19T13:07:55Z

Add words on ontological embarrassment

← Older revision		Revision as of 15:07, 19 August 2024
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	'''The corruption of the Critic'''		'''The corruption of the Critic'''
			This section discusses the effect the 'ontological embaressment' has on the literary critic: if they can no longer read, how can they be a critic?

	'''Problems of "Textual Anthropology"'''		'''Problems of "Textual Anthropology"'''
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Thijshijsijsjss: Add words on rhetoric

2024-08-19T12:54:31Z

Add words on rhetoric

← Older revision		Revision as of 14:54, 19 August 2024
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	'''The Rhetoric of Nonlinearity'''		'''The Rhetoric of Nonlinearity'''
			We return to the question 'what kind of literary phenomenon is nonlinearity'. It is noted that it cannot be a genre (there's examples of fiction, poetry, encyclopediae, etc.). Nor can it be a rhetoric trope, as it works on the level of words, not meaning. Also, semiotically, every text is linear, as it considers a text simply a chain of signs. Another reference is brought up: Pierre Fontanier's taxonomy of tropes. We are able to place the figures of nonlinearity in his described classes.

	'''The corruption of the Critic'''		'''The corruption of the Critic'''

Thijshijsijsjss: Add words on the limits of fiction

2024-08-19T12:44:14Z

Add words on the limits of fiction

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	'''The Limits of Fiction'''		'''The Limits of Fiction'''
			Both determinate and indeterminate cybertext bring to light an important issue with ontological categories of textuality. As they are more empirical, they demand a new category -- though they rely on belief, it is not the same belief or suspension of disbelief applied to traditional novels. This new category might be called 'simulation'.

			A user of fiction is responsible for constructing a mental image of the described text, but the text remains in control: the text can contradict this image at any moment. The text can make any claims that will then be true in the fiction, there's no one to contradict. From the user's POV, fiction is neither logical nor illogical. However, in some of these cybertextual examples, responsibility for coherence is shared between the text and its user(s).

			Cybertext are between reality and fiction. Unlike fiction, which presents something else, cyubertext represents something beyond themselves. They a re not obliged to represent reality, but they do have an empirical logic of their own, so they shouldn't be called fictions.

	'''The Rhetoric of Nonlinearity'''		'''The Rhetoric of Nonlinearity'''

Thijshijsijsjss: Reading time bled into August (not a confession)

2024-08-19T12:31:44Z

Reading time bled into August (not a confession)

← Older revision		Revision as of 14:31, 19 August 2024
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	* Read on: July 2024		* Read on: July - August 2024
	* Read it physically in the studio, or on the bootleg library (<span style="color:red;">TODO</span>), or with my annotations (<span style="color:red;">TODO</span>)		* Read it physically in the studio, or on the bootleg library (<span style="color:red;">TODO</span>), or with my annotations (<span style="color:red;">TODO</span>)

Thijshijsijsjss: Add words on indeterminate cybertext

2024-08-19T12:30:54Z

Add words on indeterminate cybertext

← Older revision		Revision as of 14:30, 19 August 2024
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	'''The Readerless Text'''		'''The Readerless Text'''
			(This section is concerned with the simple, non-linear text)
	Perhaps the simplest way to achieve nonlinearity is with 'forking paths'. A decision between paths, entirely up to the user, produces an ambiguity different from a phrase's usual poetic (double) meaning, because there seem to be two different versions, neither of which can exist alongside the other, and both obviously different from the text itself. Forking scripts are like optical illusions, we can first imagine one, then another, but never both at the same time. When one looks at the whole of a nonlinear text, one cannot read it. And when we read it, one cannot see the whole text. Somethin has come between us and the text, and that is ourselves trying to read. This self-consioucness forces us to take responsibility for what we read and to accept that it can bever be the text itself.		Perhaps the simplest way to achieve nonlinearity is with 'forking paths'. A decision between paths, entirely up to the user, produces an ambiguity different from a phrase's usual poetic (double) meaning, because there seem to be two different versions, neither of which can exist alongside the other, and both obviously different from the text itself. Forking scripts are like optical illusions, we can first imagine one, then another, but never both at the same time. When one looks at the whole of a nonlinear text, one cannot read it. And when we read it, one cannot see the whole text. Somethin has come between us and the text, and that is ourselves trying to read. This self-consioucness forces us to take responsibility for what we read and to accept that it can bever be the text itself.

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	'''Hypertext Is Not What You (May) Think'''		'''Hypertext Is Not What You (May) Think'''
			(This section is concerned with discontinuous nonlinear text: hypertext)
	Hypertext is a direct connection rom one position in a text to another. This text is only concerned with hypertext as a this general concept, not two other interpretations that make this a noisy field of study: specific implementations as hypertext systems, or texts within such systems.		Hypertext is a direct connection rom one position in a text to another. This text is only concerned with hypertext as a this general concept, not two other interpretations that make this a noisy field of study: specific implementations as hypertext systems, or texts within such systems.

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	'''Death and Cybernetics in the Ever-ending Text'''		'''Death and Cybernetics in the Ever-ending Text'''
			(This section is concerned with determinate cybertext)
	"A cybertext is a self-chaning text in which scriptons and traversal functions are controlledby an immanent cybernetic agent, either mechanical or human." Two historic examples are the root of computer-mediated cybertexts: ''Eliza'' and ''Adventure''. The former was an early AI 'chatbot' playing a psychotherapist. The latter is a text adventure that went on to inspire the likes of ''Zork'', in which the user controls a 'you', role-playing through a narrative. Aarseth notes that death in the cybertext is curious. Instead of signifying closure, 'cyberdeath' instead signifies a sort of reincarnation that implies a new beginning. This clearly distinguishes separate entities of 'user', 'main character' and 'narratee'.		"A cybertext is a self-chaning text in which scriptons and traversal functions are controlledby an immanent cybernetic agent, either mechanical or human." Two historic examples are the root of computer-mediated cybertexts: ''Eliza'' and ''Adventure''. The former was an early AI 'chatbot' playing a psychotherapist. The latter is a text adventure that went on to inspire the likes of ''Zork'', in which the user controls a 'you', role-playing through a narrative. Aarseth notes that death in the cybertext is curious. Instead of signifying closure, 'cyberdeath' instead signifies a sort of reincarnation that implies a new beginning. This clearly distinguishes separate entities of 'user', 'main character' and 'narratee'.

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	'''"The Lingo of the Cable": Travels in Cybertextuality'''		'''"The Lingo of the Cable": Travels in Cybertextuality'''
			(This sections is concerned with indeterminate cybertext)
			Indeterminate cybertext should be seen as a movement not against, but beyond genre.

			We are presented with a brief summary of communication hyistory, from the telegraph to telex to mainframe computers to digitally mediated network chatting to the first MUD. Next to being a game, this was a cyberspace to enjoy complete anonymous freedom independent of your physical self. TinyMUD then allowed users to even add to the topology of the game. This is described as very anarchic.

			MUDs seem to defy literary theory. Every user has a different or partial POV and the users bombard each other with temporal textons. However different this may seem from traditional novels, Aarseth assures us this is literature: 'letters, wordes and sentences are selected, arranged and dissemated to delight, impress or enrage an unknown audience.' Questions of authors and readers are also defied by MUDs. MUDs cannot be read, only (partially) experienced. Similarly, there's no knowing if a user's additions will be seen by anyone at all.

	'''The Limits of Fiction'''		'''The Limits of Fiction'''

Thijshijsijsjss: Add words on death and cybernetics

2024-08-12T18:42:46Z

Add words on death and cybernetics

← Older revision		Revision as of 20:42, 12 August 2024
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	'''Death and Cybernetics in the Ever-ending Text'''		'''Death and Cybernetics in the Ever-ending Text'''
			"A cybertext is a self-chaning text in which scriptons and traversal functions are controlledby an immanent cybernetic agent, either mechanical or human." Two historic examples are the root of computer-mediated cybertexts: ''Eliza'' and ''Adventure''. The former was an early AI 'chatbot' playing a psychotherapist. The latter is a text adventure that went on to inspire the likes of ''Zork'', in which the user controls a 'you', role-playing through a narrative. Aarseth notes that death in the cybertext is curious. Instead of signifying closure, 'cyberdeath' instead signifies a sort of reincarnation that implies a new beginning. This clearly distinguishes separate entities of 'user', 'main character' and 'narratee'.

			There are two outcomes of a cybertext:
			* Either it is successful ('the user wins'). This isn't as satisfying as a traditional text, as the 'you' is left behind and the same build-up and release of tension cannot be provided. It leads to peripety, not catharsis.
			* Or it is unsuccessful (the game is not solved). Again, the you is abandoned.
			Aarseth concludes that if the absent structure of narrative is the key problem in literary hypertext, in determinate cybertext the abest structure is the plot. In cybertext, the plot is not determined by the story, but instead is hidden itself, to be determined by user actions. Then found ,it does not produce anything interesting.

	'''"The Lingo of the Cable": Travels in Cybertextuality'''		'''"The Lingo of the Cable": Travels in Cybertextuality'''