Non-Linearity and Literary Theory --Aarseth

1. Non-Linearity and Literary Theory--Aarseth “I avoid the primitive and theoretically uninteresting division between electronic and hard copy.”

2. Categories of Nonlinearity • “The simple nonlinear text, whose textons are totally static, open and explorable by the user. • The discontinuous nonlinear text, or hypertext, which may be traversed by “jumps” (explicit links) between textons. • The determinate “cybertext,” in which the behavior of textons is predictable but conditional with the element of role-playing • The indeterminate cybertext in which textons are dynamic and unpredictable.”

3. More on electronic vs paper text • “We have a number of different text types, some paper based and some digital, with the greater variety among the digital ones. • “Thus there may be more difference between two digital texts than between either of those and a paper text.” • “Literary hypertext does not represent a break with the novel. On the contrary, it finds its place in a long tradition of experimental literature in which one of the main strategies is to resist and subvert narrative.” • Review conventional characteristics of hypertext

4. Hypertext vs Cybertest • Hypertext isn’t necessarily electronic • It is distinguished by “its discontinuity—the jump—the sudden displacement of the user’s position in the text” • Reader’s attempt to identify with the narratee is undermined

5. Cybertext • “A self-changing text. . . which is controlled by an immanent cyberneticagent, either mechanical or human.” • Determinate -- Games • vs indeterminate • MUD’s

6. The Rhetoric of Nonlinearity • Forking—spatially nonlinear text • Linking/jumping—hypertext • Permutation—user generated or computer, determinate or indeterminate • Computation—computer generated determinate or random • Polygenesis—response to user, predicted or indeterminate (MUD)