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Yl at 06:08, 7 November 2017

2017-11-07T06:08:34Z

Yl at 06:05, 7 November 2017

2017-11-07T06:05:51Z

Witchybitchy at 16:58, 31 October 2017

2017-10-31T16:58:38Z

ELitty at 06:19, 30 October 2017

2017-10-30T06:19:36Z

Thebookworm139: /* See also */

2017-10-24T21:10:49Z

‎See also

Thebookworm139 at 21:10, 24 October 2017

2017-10-24T21:10:31Z

Zzyzzx at 02:09, 24 October 2017

2017-10-24T02:09:28Z

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2017-10-04T01:46:06Z

Created page with "Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require people to view the ending product with a more observant strategy a..."

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Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require people to view the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.

← Older revision		Revision as of 06:08, 7 November 2017
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−	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to [[view]] the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his [[book]], which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, [[File:stanley.gif\|200px\|thumb\|right\|"human beings already contained all the answers to everything." Image from "English Major as told by The Office" on the Alt Syl.]] yet the realization itself makes it impossible to grasp these answers.	+	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to [[view]] the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his [[book]], which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, [[File: stanley.gif\|200px\|thumb\|right\|"human beings already contained all the answers to everything." Image from "English Major as told by The Office" on the Alt Syl.]] yet the realization itself makes it impossible to grasp these answers.

← Older revision		Revision as of 06:05, 7 November 2017
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−	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to [[view]] the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his [[book]], which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.	+	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to [[view]] the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his [[book]], which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, [[File:stanley.gif\|200px\|thumb\|right\|"human beings already contained all the answers to everything." Image from "English Major as told by The Office" on the Alt Syl.]] yet the realization itself makes it impossible to grasp these answers.
		+

	==See also==		==See also==

← Older revision		Revision as of 16:58, 31 October 2017
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−	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to [[view]] the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.	+	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to [[view]] the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his [[book]], which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.

	==See also==		==See also==

← Older revision		Revision as of 06:19, 30 October 2017
Line 1:		Line 1:
−	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to view the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.	+	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to [[view]] the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.

	==See also==		==See also==

@@ Line 3: / Line 3: @@
 ==See also==
 [[bandcamp]]
 [[vinyl record]]

← Older revision		Revision as of 21:10, 24 October 2017
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	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to view the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.		Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to view the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.
		+
		+	==See also==
		+	[[bandcamp]]
		+	[[vinyl record]]

← Older revision		Revision as of 02:09, 24 October 2017
Line 1:		Line 1:
−	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require people to view the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.	+	Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to view the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.