超文本时代?

Stuart Moulthrop
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引用次数: 0

摘要

这个演讲从一个疯狂的想法开始,我们可能会认为超文本是1985-2020年期间的标志。这种说法在技术上比在文化上更可信,但这种说法却反常地针对文化进行了讨论。除此之外,这次讨论还回顾了莫思罗普1998年在ACM发表的超文本主题演讲,当时他区分了“通俗的”超文本(当时是亚马逊和其他在线零售商对万维网的新颖改编)和“深奥的”超文本小说和数字艺术等应用。这次演讲更新了这一见解,并引用了后来的发展,如Jill Walker的“野性超文本”理论,社交媒体的兴起,以及电脑游戏作为合法思想渠道的认可。虽然这些现象可以说已经取代了大众想象中的超文本性,但莫尔斯罗普指出,超文本美学存在的地方主要是对复杂叙事、反事实和多元宇宙的兴趣。从美学回到技术,演讲重点是Twine,这是一款流行的文本游戏应用程序,它将Alexander Galloway所说的网络技术的“直流学”开放性与图形超文本系统的结构映射功能结合在一起。在某些方面,将Twine描述为超文本的第二次到来是一种明显的,也许是有意的误读。谈话结束时,我想知道这种误读可能揭示了什么。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Hypertext Years?
This talk begins with the crazy notion that we might think of hypertext as a signature for the period 1985-2020. The claim is more plausible technically than culturally, but the talk is perversely addressed to culture. Among other things, the discussion revisits Moulthrop's previous ACM Hypertext keynote in 1998, in which he distinguished between "exoteric" hypertext - the then-novel adaptation of the World Wide Web by Amazon and other online retailers - and "esoteric" applications in things like hypertext fiction and digital art. The talk updates this insight with reference to later developments such as Jill Walker's "feral hypertext" thesis, the rise of social media, and the recognition of computer games as legitimate channels of ideas. While these phenomena have arguably displaced hypertextuality in the popular imagination, Moulthrop points to the major interest in complex narratives, counterfactuals, and multiverses as places where the hypertext aesthetic survives. Turning from aesthetics back to the technical, the talk focuses on Twine, the popular text-gaming application that marries what Alexander Galloway would call the "proctological" openness of web technologies with the structure-mapping affordances of graphical hypertext systems. In some ways portraying Twine as a second coming of hypertext is a clear and perhaps intentional misreading. The talk ends by wondering what this misreading might reveal.
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