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Topic: Ergodic literature

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	Ergodic literature - Wikipedia, the free encyclopedia
		Ergodic literature is literature that requires special effort to comprehend or read, perhaps due to a "non linear" structure.
		For example, ergodic literature may require following a very unconventional page layout in order to understand a novel, or in the case of ebooks, readers may need to constantly use hyperlinks to follow the narrative, or use menus to continue reading in a new location.
		Although it may be supposed that this kind of literature was born in the second half of the 20th century, at the same time as the first appearance of computers, critics of the ergodic literature have often mentioned the I Ching as the first example of genre.
	en.wikipedia.org /wiki/Ergodic_literature (381 words)

	Ergodic literature - ArticleWorld
		An ergodic text re-interprets the idea of 'plot', plays with layout or typography, requires the reader to find a 'key' to unlock the meanings of the text or introduces an unreliable narrator or digression.
		Ergodic literature thus challenges the very notion of authorship or authority, and is sometimes seen as liberating or empowering.
		Ergodic literature, while often modernist has been described in postmodern studies, for example, by Gilles Deleuze and Félix Guattari in their writings about 'rhizomes', Jacques Derrida and his decentered text, and Roland Barthes's 'writerly text'.
	www.articleworld.org /index.php/Ergodic_literature (518 words)

	Precis: Ergodic Literature
		Users of an ergodic work of literature are integrated in such a way with the functional processes of the text that their work completes the structure, and thus the narrative, of the text.
		The discussions of ergodic literature and the labyrinth metaphors of literary theory eventually lead Aarseth toward a definition of cybertext.
		Secondly, along the same lines as the completion factor in ergodic literature, is the notion that “self-manipulating devices” are embedded within the structure which aid the user in her quest to complete the text (Aarseth, 20).
	www.tc.umn.edu /~weide007/aarseth.html (1055 words)

	Literature - Free net encyclopedia (Site not responding. Last check: 2007-09-29)
		Literature is literally "acquaintance with letters" as in the first sense given in the Oxford English Dictionary (from the Latin littera meaning "an individual written character (letter)").
		Critics may exclude works from the classification "literature", for example, on the grounds of a poor standard of grammar and syntax, of an unbelievable or disjointed story-line, or of inconsistent or unconvincing characters.
		Some recent philosophy works are argued to merit the title "literature", such as some of the works by Simon Blackburn; but much of it does not, and some areas, such as logic, have become extremely technical to a degree similar as that of mathematics.
	www.netipedia.com /index.php/Literature (2589 words)

	Literature (Site not responding. Last check: 2007-09-29)
		Literature is literally "an acquaintance with letters" in the first sense given in the Oxford English Dictionary ; the term has however generally come identify a collection of texts.
		Critics may exclude works from the "literature" for example on the grounds of poor standard of grammar and syntax of an unbelievable or disjointed story-line or of inconsistent or unconvincing characters.
		Typically though poetry as a of literature makes some significant use of formal properties of the words it uses the properties attached to the written or spoken form of the words rather than their meaning.
	www.freeglossary.com /Literature (2578 words)

	Chapter III: REPLACEMENT & DISPLACEMENT: AT THE LIMITS OF PRINT FICTION
		Ergodic text contains bits and pieces of both story elements and discourse elements, and the ergodic activity of the reader constructs the linear discourse as discoursed (the text as actually read)[8].
		Ergodic text is always a collage of (possibly excluding) voices: "This voice is not functionally identical to various types of narrators that we observe in narrative fiction, since the ergodic voice is both more and less than the teller of a tale" (Aarseth 1997, 114).
		The mistake of seeing ergodic texts like hypertext as narratives is due to the general mistake:"argument seems to rest on an unwritten assumption: that fiction and narrative are the same"[27] (84-85).
	www.cc.jyu.fi /~koskimaa/thesis/chapter3.htm (6331 words)

	aarseth
		In his book "Cybertext: Perspectives on Ergodic Literature", Espen Aarseth ponders whether the rapid growth of digital literature means that the narrative mode of discourse, that is, novels and films etc. are no longer able to maintain their dominant status within our culture.
		Aarseth uses the terms 'cybertext' and 'ergodic' in his work and any further study requires an understanding of their meanings.
		Aarseth coins the term 'ergodic aporia' to describe the bewildered interchange that occurs when a reader is attempting to navigate the hypertextual labyrinth and he contends that this may be mistaken with tmesis.
	www.royby.com /hyper_essay/pages/aarseth.html (1003 words)

	A Core
		Ergodic literature for Aarseth is characterized by a more integrated relationship between the reader/consumer/user of a text and the text itself.
		Because a user’s actions interact with the basic function of an ergodic text, one could assume that a characteristic of an ergodic text is that it is unfinished, or rather needs a user’s work in order to perform a type of completion.
		If there is a way that hypertext can increase the complexity of literature in a way that print literature cannot, or can only to a limited extent, then I believe it is through multicursality, through creating a multicursality which is both tropographic and topographic.
	www.tc.umn.edu /~weide007/core.html (2519 words)

	Grand Text Auto » Clarifying Ergodic and Cybertext (Site not responding. Last check: 2007-09-29)
		I’ve been telling people some variation of this: ergodic literature requires the reader to undertake “non-trivial” effort in order to traverse the text, and cybertext is the kind of text one reads ergodically.
		If ergodic literature is to make sense as a concept, there must also be nonergodic literature, where the effort to traverse the text is trivial, with no extranoematic responsibilities placed on the reader except (for example) eye movement and the periodic or arbitrary turning of pages.
		The ergodic work of art is one that in a material sense includes the rules for its own use, a work that has certain requirements built in that automatically distinguishes between successful and unsuccessful users.
	grandtextauto.gatech.edu /2005/08/12/clarifying-ergodic-and-cybertext#more-896 (7942 words)

	Johan Svedjedal : Ergodic Nightmare
		Literature is the simulation of possible worlds, thought experiments in which events and problems can be developed as hypotheses, and unfolded into fictions about what people do, think and say.
		In such cases, literature’s capacity to simulate a new world has a resemblance to multimedia, that is, the work speaks to all the senses simultaneously.
		That science fiction is often considered a "low" form of literature is due, perhaps, to its baring of this device, accompanied by rather paltry attention to other literary devices such as psychological complexity or stylistic creativity.
	www.hb.se /bhs/ith/23-01/js.htm (8232 words)

	Johan Svedjedal : A Note on the Concept of "Hypertext"
		This is helpful if you are interested in the aesthetic stratification of literature (what is good, what is bad; what is in, what is out; what is enjoyable, what is boring), but not very helpful as technical definitions go.
		In the large body of literature surrounding hypertexts, some basic properties have been noted, delineating the hypertext as something of a fulfillment of the promises of poststructuralism.
		We tend to think of literature as a texture of compelling rhetorical structures; as digital hypertexts, however, literature seems to be more like a box of Lego, ready-made elements for the reader to assemble as he or she chooses.
	www.hb.se /bhs/ith/3-99/js.htm (4689 words)

	Abstract & Bio (Site not responding. Last check: 2007-09-29)
		While literary critics, and particularly reader-response theorists, may object to a characterization of literature as nonergodic, it is difficult to mount similar objections on behalf of film.
		The prospect of a genuinely ergodic cinema is undoubtedly a distant one, but I would argue that we can see symptoms of that change in certain films, as well as the commercial success that such films have enjoyed recently.
		While the possibility of ergodic films may still be distant, a cybertextual perspective may prove productive, encouraging us to imagine what will have been the contribution of the digital age to the art of cinema.
	cmc.uib.no /dac/abstracts/brooke.html (391 words)

	dichtung-digital / Interfictions: Shuen-shing Lee: Explorations of Ergodic Literature
		One of the core concerns of interface design in digital art is "interaction" or "ergodic action." This is particularly the case for such cybertext forms as computer games in which ergodicity is the sole point of engagement which the rest of the constituents support.
		Interaction in hypertext literature may not be as fully exploited as that of computer games, but hypertextual interaction very often replicates playing and gaming modes or even models behaviors prevalent in computer games.
		The ergodicity of "Clues" injects new life into the convention of text-based detective stories which have succumbed to lack of innovation in form.
	www.brown.edu /Research/dichtung-digital/2002/05/26-Lee (3816 words)

	Sample Chapter from
		Thus there may well exist major ergodic genres or texts that I have failed to include, but since this is a theoretical rather than an encyclopedic study, the future appearance of any hitherto unknown forms will invalidate my theories only if they fail to comply with my general model of ergodic forms.
		As literature (although not as textual media), MUDs are very different from anything else, with their streams of continuing text and their collective, often anonymous readership and writership.
		Theories of literature have a powerful ability to co-opt new fields and fill theoretical vacuums, and in such a process of colonization, where the "virgin territory" lacks theoretical defense, important perspectives and insights might be lost or at least overlooked.
	www.uoc.edu /in3/hermeneia/sala_de_lectura/e_aarseth_introduction_to_cybertext.htm (7256 words)

	Amazon.com: Cybertext: Perspectives on Ergodic Literature: Books: Espen J. Aarseth (Site not responding. Last check: 2007-09-29)
		In ergodic literature, something else must be occurring outside the confines of the thought processes of the reader.
		Of course, this book itself is not an example of ergodic literature since it presents a case for it in an organized `linear' fashion, and readers must respect this linear order if they are to fathom the arguments of words of the author.
		Ergodic literature will no doubt expand in its ramifications and complexity in the twenty-first century, due mostly to the more exotic technologies that will be developed alongside of it.
	www.amazon.com /exec/obidos/tg/detail/-/0801855799?v=glance (1677 words)

	Literature (Site not responding. Last check: 2007-09-29)
		'''Literature''' is literally "an acquaintance with letters" as in the first sense given in the Oxford English Dictionary (from the Latin "littera" meaning an individual written character (letter)).
		The word "literature," as a common noun, can refer to any form of writing, such as essays; while "Literature," the proper noun, refers to a whole body of literary work, world-wide or relating to a specific culture.
		Some recent philosophy undoubtedly merits the title "literature" — the work of Wittgenstein, for example, does; but much of it does not, and some areas, such as logic, have become extremely technical to the same degree as the sciences.
	literature.kiwiki.homeip.net (2849 words)

	-McHale193: Alasdair Gray - "I want Lanark to be read in one order
		With oral literature, as well as with ergodic literature, the dialog with the audience always threatens the unfolding of the story - these audience-induced digressions (though naturally only simulated ones in TIOLI) are the main motivation for the digressive structure of the book.
		It is not just so that ergodic texts teach their readers to handle multiple excluding possibilities simultaneously, but also that the readers are already familiar with that situation, and thus ready to appreciate ergodic texts.
		The mistake to see ergodic texts like hypertext as narratives is due to the general mistake:"argument seems to rest on an unwritten assumption: that fiction and narrative are the same" (84-85).
	www.cc.jyu.fi /~koskimaa/replacement.htm (5995 words)

	ebr11 --<montfort
		The term "ergodic" is used to denote a work that requires labor from the reader to create a path.
		"Ergodic" is borrowed by Aarseth from the field of ergodic theory, where it means something else entirely.
		Discussion of terminology may appear to be useless quibbling, but it is very important if new types of ergodic literature are to be considered by hypertext authors and critics.
	www.altx.com /ebr/ebr11/11mon (4141 words)

	Into the Blogosphere: Rhetoric, Community, and Culture of Weblogs: The Labyrinth Unbound: Weblogs as Literature
		Ergodic literature, then, a term derived by Aarseth from the Greek words for “work” and “path” (ergon and hodos, respectively), requires significant, engaged effort on the part of a reader in the construction of the text—effort beyond the flow of eyes across words or the turning of pages.
		The author of ergodic literature—whether it is the Chinese I Ching, Oulipian works by Raymond Queneau, or Michael Joyce’s seminal pre-internet cybertext fiction Afternoon—provides the parameters of a story, and the reader, within those constraints, draws his or her own path through it.
		Drawing on a long metaphorical tradition, Aarseth (1997) explores ergodic literature through its comparison to the labyrinth, highlighting distinct differences in the ways that model can be applied to ergodic and non-ergodic texts (pp.
	blog.lib.umn.edu /blogosphere/labyrinth_unbound.html (5483 words)

	Ergodic - TheBestLinks.com - Mathematics, Thermodynamics, Ergodic hypothesis, Ergodic theory, ... (Site not responding. Last check: 2007-09-29)
		Ergodic - TheBestLinks.com - Mathematics, Thermodynamics, Ergodic hypothesis, Ergodic theory,...
		The ergodic hypothesis is a postulate of thermodynamics.
		Ergodic literature is literature that requires effort to read.
	www.thebestlinks.com /Ergodic.html (107 words)

	Cyber\|literature and Multicourses: Rescuing Electronic Literature from Infanticide
		Electronic literature achieves its power not only through computational operations but also through devices that have traditionally been considered literary, for example originality of expression, construction of plot, use of metaphor and tropes, and characterization through action and narrative voice.
		Just as literary analysis of electronic literature that does not consider the reader's choice of pathways or the materiality of the medium would be seriously incomplete, so would an analysis that looks only at programming structure without regard for these tools of a writer's trade.
		Literature and computer games are both doing very nicely these days; it is their hybrid offspring that is in danger.
	www.electronicbookreview.com /thread/electropoetics/interspecial (1485 words)

	Category:Literature - Wikipedia, the free encyclopedia
		Articles and media on this topic in other Wikimedia projects can be found at: Commons Category Literature
		The word "literature" spelled with a lower-case "l" can refer to any form of writing, such as essays; while "Literature" spelled with an upper-case "L" may refer to a whole body of literary work, world-wide or relating to a specific culture.
		The main article for this category is Literature.
	en.wikipedia.org /wiki/Category:Literature (131 words)

	Mediamatic Review: Darren Tofts Cybertext - Espen Aarseth
		His subtitle, "Perspectives on Ergodic Literature", is more revealing and identifies the book's main object of study.
		To focus his assertion that cybertexts are distinguished by the degree of intervention and input required by those engaging with them, Aarseth has borrowed the term "ergodic" from physics to describe the cognitive and navigational work that goes into the cybertextual process.
		In suggesting that the work "is something other than narrative" (94), he draws on the traits of his working concept of ergodics to dramatize how emergent cybertextual practices (such as Afternoon) operate according to a different logic from narrative, a logic characterized by aporia and epiphany, the conceptual impasse and the salvaging link.
	www.mediamatic.nl /magazine/previews/reviews/tofts/tofts-aarseth.html (1446 words)

	Leonardo Reviews (Site not responding. Last check: 2007-09-29)
		"In ergodic literature, nontrivial effort is required to allow the reader to traverse the text," he explains.
		This book is of interest to students of computer-mediated literature because it approaches both computer games and hypernarrative in interface terms.
		However, given that this purports to be a book about literature, the study would have been more relevant if he had included some of the more complex narrative games -- such as Myst or Robert Pinsky's Mindwheel.
	mitpress2.mit.edu /e-journals/Leonardo/reviews/pre2000/malcyb.html (430 words)

	texts
		The study of cybertexts reveals the misprision of the spaciodynamic metaphors of narrative theory, because ergodic literature incarnates these models in a way linear text narratives do not.
		The cybertext reader is a player, a gambler; the cybertext is a game-world or world-game; it is possible to explore, get lost, and discover secret paths in these texts, not metaphorically, but through the topological structures of the textual machinery.
		This is not a difference between games and literature but rather between games and narratives.
	www.arts.auckland.ac.nz /tcs/data/61.htm (161 words)

	ebr12 --<eskelinen
		The relation of ergodic literature to non-ergodic is not very extensively discussed; the focus is understandably elsewhere.
		Cybertext theory is a very effective antidote to the well-known theories of literatures of exhaustion, or the almost senile laments of the passing of the golden age, or of the supposedly necessary or unavoidable multimedialisation — for the simple reason it can show roughly 570 fresh alternatives to what those other approaches try to bury.
		There we interpret in order to be able to configure and move from the beginning to the winning or some other situation, whereas in ergodic literature we may have to configure in order to be able to interpret.
	www.altx.com /ebr/ebr12/eskel.htm (3418 words)

	Literary Advisory Board (ELO)
		He is the author of Cybertext: Perspectives on Ergodic Literature, the founder of the Digital Arts and Culture conference, and the founder of the journal Game Studies.
		Jay David Bolter is co-director of the New Media Center and Wesley Professor of New Media in the School of Literature, Communications, and Culture at the Georgia Institute of Technology.
		Katherine Hayles is professor of English and DesignMedia Arts at the University of California at Los Angeles, where she teaches and write on relations between literature and science in the twentieth century.
	www.eliterature.org /about/literary-advisory-board (2228 words)

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