DHQ: Digital Humanities Quarterly
2012
Volume 6 Number 2
Volume 6 Number 2
Machine Enhanced (Re)minding: the Development of Storyspace
Abstract
This article traces the history of Storyspace, the world’s first program for creating, editing and reading hypertext fiction. Storyspace is crucial to the history of hypertext as well as the history of interactive fiction. It argues that Storyspace was built around a topographic metaphor and that it attempts to model human associative memory. The article is based on interviews with key hypertext pioneers as well as documents created at the time.
Note: This article is an extract from Belinda’s forthcoming book, Memory Machines: The Evolution of Hypertext (Anthem Press,
UK (2013)). The book is largely based on interviews with the original hypertext
pioneers. Copies can be pre-ordered from the publisher.
Re:minding. And yet. But still. (Mais encore) Still flowing.
Michael Joyce, unpublished manuscript, [Joyce 2011a, 3]
Michael Joyce has kept a journal for many years. Before he begins to write, he
inscribes the first page with an epigram: “Still flowing”. As anyone who has read
Joyce’s fictions or critical writing will attest, his work is replete with multiple
voices and narrative trajectories, a babbling stream of textual overflow interrupted
at regular intervals by playful, descriptive whorls and eddies. If there is a common
thread to be drawn between his hyperfictions, his academic writing and his novels,
then it is this polyglot dialogue, as Robert Coover terms it — a lyrical
stream of consciousness. Joyce can tell a story. And he has told many stories: four
books, forty scholarly essays, and at last count (my count), a dozen
fictions.[1] What courses through this
work is a gentle concern, or even fixation, with how stories are told, with “how we make meaning, as if a caress”
[Joyce 2004, 45]. The metaphor of water is an appropriate one.
Like Ted Nelson, who had his first epiphany about the nature of ideas and the
connections between them as he trailed his hand in the water under his grandfather’s
boat, Joyce has long been concerned with how to represent a multiplicity of ideas
and their swirling interrelationships, with how stories change over time. In the
essay “What I Really Wanted to Do I Thought”,
about the early development of Storyspace, Joyce writes:
What I really wanted to do, I discovered, was not merely to move a paragraph from page 265 to page 7 but to do so almost endlessly. I wanted, quite simply, to write a novel that would change in successive readings and to make those changing versions according to the connections that I had for some time naturally discovered in the process of writing and that I wanted my readers to share. [Joyce 1998, 31]
That novel, of course, would become afternoon
, the world’s first hypertext fiction [Joyce 1987]. The
development of Storyspace is, at least in part, the story of Joyce’s quest to find a
structure for what did not yet exist, or as he wrote in a lengthy document created
at the time called the Markle Report (see note on sources[2]), to find “a structure
editor...for creating ‘multiple fictions’” [Bolter and Joyce 1986, 12].
As I have argued elsewhere,[3] the early hypertext systems were built to embody particular visions about
how the human mind and memory work, to represent the “complex interconnections” that
hold between ideas. Each system (re)presented a different model of these
interconnections and of the perceived complexity underlying a mass of information.
As Jay David Bolter put it in 1991, “electronic symbols...seem to be an extension of a
network of ideas in the mind itself” [Bolter 1991, 207] (also cited by [Joyce 1998, 23]).
Storyspace is no exception; Joyce intuitively felt that stories disclose themselves
in their “connectiveness,” and that “we are associative creatures. That’s what we
do” [Joyce 2011b]. Unlike the hypertext pioneers van Dam, Engelbart, Nelson or
Bush, however, Joyce is first and foremost a writer – and Storyspace was designed
for writers. The image of potentiality that guided Joyce was consequently a literary
one; it started with an idea for a novel.
In every interview Joyce has given about afternoon or the
development of Storyspace, the leitmotif of a “story that
changes each time you read it” returns like a Wagnerian melody. Joyce’s writing is
filled with such recurrences, with images and phrases that return again and again;
“recurrence is the sounding of memory in air,” he writes in Othermindedness [Joyce 2004, 97]. As Stuart Moulthrop observed in response to this
article, the name “Joyce” is also an echo, “an echo he won’t acknowledge for
fear of trading on homonymity” [Moulthrop 2011]. Joyce, keen as always to create a
self-reflexive eddy in the text, has a response to that response)[4]. This particular image, the image of a multiple fiction, is important enough
that it appears verbatim or near verbatim in many of his essays on hypertext (e.g.,
[Joyce 1998, 31] [Bolter 1991, 247] [Joyce 2004, 123] as a “multiple” story).
Although he is quick to point out that “it wasn’t a matter of just bringing a set of
ideals and aspirations to Bolter,” and then building a system to do that [Joyce 2011b],
the idea of a novel that changes with each reading was obviously important to him,
based on its longevity in his own work. In our interview, he actually corrected my
phrasing: “forgive this, this is like an English teacher, it’s not
every reading in the sense of every different reader, but I said each reading, and I had in mind readers who would go back to
a text again and again” [Joyce 2011b]. If Storyspace has an origin legend, then it begins
with this multiple fiction; in Vassar College’s version of the tale, Joyce “looked
at his little Apple II in the early 80s and said I’ll bet you could do a story
that would change every [sic] time you read it. He called around, looking for such
software, and it didn’t exist” [Vassar College 1992].
Apocryphal stories aside, what is clear is that as a novelist, Joyce was thinking
about the process of writing, and even more importantly, about the internal
connections that exist in stories - connections that might, with the aid of a
computer, be shaped by potential readers.
In the early 80s, as a classics professor working at the University of North
Carolina, Chapel Hill, Jay David Bolter was also thinking about the computer as a
writing space, and about the connections that hold between ideas. His department had
been pioneering research into the computerization of classical scholarship since
1975, led by David Packard (son of billionaire computing pioneer David Packard, Sr.,
the co-founder of Hewlett Packard). Unlike his contemporaries, and crucially for the
future of humanities computing, Bolter had a background in computer engineering. He
completed a Masters in Computer Science in 1978 as well as a PhD in Classics in
1977, both from UNC, and he was a member of the Committee for Computer Applications
(APA) beginning in 1981[5].
As a classics student at UNC in the late 70s, he remembers in our interview,
he was the “only student in the class who had a computer science background” [Bolter 2011]. He
became Packard’s assistant for a couple of years and worked on his pioneering
mini-computer system IBYCUS.
IBYCUS was the first computer to allow the editing, search, and retrieval of
classical texts in a fully integrated desktop package[6]. When Packard left UNC, he left his computer there and Bolter was
responsible for running IBYCUS for a few more years.
This was really my first important humanities application and it was at that time that I started thinking about the impact of the computer as a technology, which led to my book Turing’s Man [Bolter 2011].
Consequently, when he started working with Joyce in 1983, Bolter had already been
thinking about the relationship between computing and classical scholarship for a
few years[7]. Joyce remembers he “felt drawn to Jay’s vision because he was concerned
with questions of how the epic narrator, how the Homeric narrator, adjusted stories
so they changed” [Joyce 2011b].
Computing science was engaged in a love affair with AI in the 70s and 80s; it was
particularly intent on modeling the perceived structure of the human mind and
memory, imitating nature and improving on it (a topic that Bolter critiques in the
first edition of Writing Space [Bolter 1991, 171175], unfortunately
removed from the second edition published in 2001). Both Joyce and Bolter spent a
year as Visiting Fellows at the Yale AI Project, Bolter from 1982 to 1983 and Joyce
from 1984 to 1985. Bolter recalls there was “a general paradigm of representation
that AI was following at the time, which was the concept of basically linked
structures, interlinked structures, nets of ideas” [Bolter 2011], a concept that was also
central to Storyspace. “Crucially,” he recalls, “the AI community didn’t see this as
writing, they saw it as thinking, in other words they thought they were [actually]
modeling the mind” [Joyce 2011b].[8]
From 1980 to 1987, there was a second “boom” in this area and large amounts of money
were available for research[9]. It was a glamorous field, and both Bolter and Joyce felt the gravitational
pull of it. In the Markle Report they note that their “collaboration stems from, and
has been energized by, work in artificial intelligence” [Bolter and Joyce 1986, 12]. It might be
worth reflecting at this point that, whereas the project of hypertext has been all
too successful with the proliferation of the web, AI remains arguably fictional[10]. In the 1980s however, there was a brief resurgence of hope as the new
technology of “expert systems” and artificial neural networks picked up steam.
Given the prominence they ascribe to this research, I will briefly explore some of
the work produced at Yale here. Joyce in particular was influenced by the ideas of
the indomitable Roger Schank, Director of the Yale AI Project and author of a
seminal book in AI called Dynamic Memory, first published in
1982. (It has subsequently been revised. The 1999 edition is the one I will be
referring to here.) Joyce picked up the term remindings from Schank’s work,
probably from this book, noting in Of Two Minds that Schank
is “nearly alone in artificial intelligence researchers in using the computer as a
test bed for expressing representations of thought” [Joyce 1998, 165].
He also spent a couple of years corresponding with Natalie Dehn, a researcher at
Schank’s lab, who used the term extensively in her work on story-generation
programs[11]. When Joyce first began corresponding with Dehn in 1983, she was working on
a story generation program called TALE-SPIN that attempted to simulate an author’s
mind as she makes up a story [Dehn 1981]. The ideal structure editor, write Bolter
and Joyce in the Markle Report, would facilitate “machine enhanced reminding” [Bolter and Joyce 1986, 40].
For Dehn, the process of writing is deeply influenced by the author’s own memory:
“This memory needs to contain not only facts about the storyworld thus far
constructed, but also prior knowledge of memorable episodes, characters, etc., in
the author's life” [Dehn 1981]. TALE-SPIN was an “AI attempt at story generation” by
making up Aesop-fable-like stories that were the consequence of a particular
storyworld. It was a world simulator, and this world included the characters that
lived in it and their goals and motivations. TALE-SPIN behaved, in effect, like an
author’s memory. It had to keep track of these characters and their specific
environment, access the material, and reformulate the narrative based on these
items. To explain and describe this process of reformulation and retrieval she also
borrowed the term reminding from Schank.
For Roger Schank, reminding describes the association of episodes in human memory,
and the remodeling that takes place upon recall (hence the
title of his book, Dynamic Memory). A library does not have a
dynamic memory; it changes with great difficulty. Human memory, on the other hand,
is constantly rewriting the connections between episodes and changing the
categorizations and associative trails of information. It does not recall
information so much as reconstruct it (hence, re-mindings, not just bringing
episodes to mind again and again, but building them afresh each time).
In the early 80s, there were specific research questions that concerned Schank at the
Yale AI lab:
When we process events as they happen, we need to find particular events in memory that are closely related to the current input we are processing. But how do we define relatedness? What does it mean for one experience to be like another? Under what labels, using what indices, do we look for related episodes? [Schank 1999, 21].
These are questions about the relationship between ideas, and how the mind snaps
instantly from one item to another, to paraphrase Bush. They were also questions,
Joyce recalls, that made sense to him during his fellowship. He would sit with Dehn
and members of Schank’s group and “once they got over the initial hump of my being
the story generation person, there was this wonderful sense that they were concerned
with questions that I could recognize as a writer” [Joyce 2011b].
From early on in the piece, due to the high profile of this field and their
involvement with it, Bolter and Joyce evidently felt the need to stress that
Storyspace was not AI: “We hasten to note,” they wrote in 1986, “that STORYSPACE in
[no] way embodies what could legitimately be called AI” [Bolter and Joyce 1986, 33]. Such an
observation would be entirely unnecessary for a hypertext system now, but in 1986,
by contrast, most “computer people” who were tinkering with networks were doing
AI[12], as they go on to note with no small sense of irony; “we may be among a very
small number of current software developers who do not claim to be doing AI” [Bolter and Joyce 1986, 34].
Bolter published a book shortly after his fellowship at Yale that would become a
classic in computing studies Turing’s Man: Western
Culture in the Computer Age (1984). In Turing’s Man, he
sets out to “foster a process of cross-fertilization” between computing science and
the humanities and to explore the cultural impact of computing [Bolter 1984, xii][13]. He also introduces some ideas around “spatial” writing that would recur and
grow in importance in his later work; in particular, the relationship between early
Greek systems of place-memory loci (the art of memory) and electronic writing.
The seeds behind Bolter’s oft-cited and influential observation from Writing Space (1991) that hypertext “is not the writing of a
place, but rather a writing with places, spatially realized topics” [Bolter 1991, 25]
germinated here, in the early 80s, in his reflections on computers and the classical
arts. The classical art of memory represented information by attributing to it
spatial characteristics, and similarly, “the computer makes a geometer out of anyone
with a computational problem to solve” [Ayer 1984, 99]. In the chapter on “Electronic
Memory”, Bolter writes:
The computer…offers us a “new dimension” in the representation of information. In building such structures, computer memory is associative rather than linear. It allows us to follow networks of association in our data, as indeed human memory does. This fact was particularly appreciated in the oral culture of Greece and Rome [Bolter 1984, 163].
Bolter’s ideas around “topographic writing” were nascent when he started
collaborating with Joyce in September 1983 [Bolter and Joyce 1986, 10]. They would later have a
profound influence over hypertext theory and criticism, and also the Storyspace
system; from the outset, the nodes in Storyspace were called “writing spaces,” and
it worked explicitly with topographic metaphors, incorporating a graphic “map view”
of the link data structure from the first version, along with a tree and an outline
view (which are also visual representations of the data). “The tree,” Bolter tells
us in Turing’s Man, “is a remarkably useful way of
representing logical relations in spatial terms” [Bolter 1984, 86]. Also in line with the
topographic metaphor, writing spaces in Storyspace acted (and still act) as
containers for other writing spaces; an author literally “builds” the space as she
traverses it, zooming in and out to view details of the work, the map making the
territory. This is an important point. “The whole thing about Storyspace was – the
big thing about Storyspace [was] – you could write hypertext hyper-textually” as
Adrian Miles put it in an interview with the author [Bolter 2011].
In his 1991 book Writing Space, Bolter uses the term
topography to incorporate both its original use as a description of a place and
its later use as the act of “mapping or charting” [Bolter 1991] Topographic writing is “both
a visual and a verbal description,” and the design of Storyspace reflected this; as
“the line, the tree and the network all become visible structures at the writer’s
and reader’s disposal” [Bolter 1991, 114].
Many of the early pre-web hypertext fictions were written in Storyspace. Some were
not – including Judy Malloy’s beautiful “narrabase” programs that generated stories
that changed each time you read them, by randomizing
retrieval from a database (the most famous of these is Uncle
Roger, 1986, available on the web[14]). We might also include here John McDaid’s Uncle Buddy’s
Phantom Funhouse, which was produced in Hypercard (1992). This also makes
use of a navigational “map” and topographic metaphor. Both Malloy's and McDaid's
work remarkably prefigure the movement in contemporary e-literature toward what
Victoria Vesna, following Lev Manovich, calls “database aesthetics” [Vesna 2007]
(Thanks to Michael Joyce for this reference).
Those hypertexts that were written in Storyspace had a strange “preoccupation with
the ‘topography’ of hypertext” [Ciccoricco 2007, 197]. The metaphor also seemed to
stick in hypertext theory for many years; Joyce (1998), Moulthrop (1995), Dickey
(1995), Landow (1992), Nunes (1999), Tolva and Johnson-Eilola (1993), to name but a
few of the “first wave” theorists, explicitly conjure images of exploration and
map-making to describe the aesthetics of hypertext, due in no small part to
Storyspace and to Bolter’s book, Writing Space (we will be
discussing Interactive Fiction later in this piece). “Our current obsession with the
creation of interactive, virtual spaces is a sign of the revival of certain features
of the art of memory,” observes Darren in Memory Trade
[Tofts 1998]. Some ideas, as Howard Rheingold wrote in Tools For
Thought over twenty years ago, are like viruses: “if they are released at
the right moment, they can infect an entire culture” [Rheingold 1985, 128].
At the time he started working with Bolter, Joyce had ambitions of his own; he wanted
to write a book that changed with each reading, as we have seen. According to the
Markle Report, which was written entirely by Joyce even though Bolter appears as an
author (see note on sources), he was also “insistent on the non-hierarchical and
associative working habits” of writers [Bolter and Joyce 1986, 24]. After they were introduced by
Natalie Dehn in 1983, they quickly began “a deeply engaged discussion about
storytelling and what kind of associative thinking we each understood” [Joyce 2011b]. They
didn’t have a formal model at the time, “not like a formal AI-like model or
psychological model,” just some concepts that were working through in their own
writing. Joyce recalls that they would talk every day on the telephone, “this was
well before we were habituaries of email,” and that these discussions were thrilling
for both of them; “it was the most profound intellectual period of my life” [Joyce 2011b].
In the manner of all great partnerships, the collaboration would change the arc of
their creative vectors far into the future; Joyce would later have “trouble distinguishing where Bolter's thought leaves off and mine begins” [Joyce 1998, acknowledgements].
It is interesting to note that Joyce is still playing with the idea of memory and
“re:mindings” in his work, “in the same way that narrative reforms our
understandings of our world and ourselves”; his unpublished manuscript is called Re: minding, Essays After-net [Joyce 2011a]. Bolter, of course,
would go on to write Remediation: Understanding New Media
with his colleague Richard Grusin (2000), which developed a model for reminding in
the digital era: in this book, Grusin and Bolter argue that visual media achieve
their cultural significance by remodeling or reworking earlier media (hence remediation). There is a double logic to remediation;
contradictory impulse towards both immediacy and hypermediacy. “Our culture wants
both to multiply its media and to erase all traces of mediation: ideally it wants to
erase its media in the very process of multiplying them” [Bolter and Gruskin 2000, 5]. To put it
crudely, we would like to have the most all-encompassing, rich sensory experience
possible, while “forgetting” that this experience has been shaped in advance by the
media that enable it.
When I put it to Bolter that the concept of remindings may have been influential for
him personally, he replied that he would “put that back on Michael”:
I think that Michael was always very interested in the notion of memory and its relationship to storytelling. And I think he always [had this] vision of a technological medium that would somehow capture or do justice to the complex process of memory and reminding. [Bolter 2011]
We might call this a tool for machine-enhanced reminding, or the “Mind as a Writing
Space”, to paraphrase one of Bolter’s chapter titles from Writing
Space (1991, removed from the second edition, 2001). Bolter wanted to
emphasize in our interview that he never believed hypertext to be any more than a
metaphor for how human mind or memory works [Bolter 2011].
The thing about technological visions is that they change. In particular, they change
as they are being built into artifacts. Computer languages and hardware have their
own limits and capacities, and these impact on the direction of development
projects. Andrew Pickering calls this dance, this mutually constitutive dance
between vision and artifact, the “mangle of practice”. When Bolter and Joyce first
started tinkering with an early software experiment for the IBM PC to “try out” some
of these ideas, this was precisely what happened; their ideas evolved in tandem with
the software experiments.
In the Markle Report, Joyce refers to an early program Bolter brought to their
discussions called TEXT [Bolter and Joyce 1986, 12]. According to Joyce, this “was a kind of offering,”
something to “try out the ideas we were having about what we understood narrative
and thinking to be” [Joyce 2011b]. Bolter believes this program was called GLOSSA – “TEXT
or GLOSSA, the names were changing rather casually at that point”[15] [Bolter 2011] – but either way the name is not important. Joyce was primarily using an
Apple II at this stage; he soon acquired a Macintosh (“not, however, before he
purchased an Apple Lisa [using grant money] for something like $11,000, or $9.8
billion in today’s money,” adds Stuart Moulthrop in the margin of this article[16]). GLOSSA was written for the IBM PC in Pascal, one of the high-level
development languages in use at the time[17]. The precursors of Storyspace, TALETELLER, TALETELLER 2, and also the
original Storyspace, were all written in Pascal - and by 1985, when both Joyce and
Bolter were using Macs, Apple had its own Mac Pascal[18]. Once converted to Mac, Bolter and Joyce were committed – “once we went to
the Mac, we never went back” [Bolter 2011].
One of the most basic and enduring tools in Pascal is linked lists, which is a simple
way to store and present “elements” using pointers to indicate the next element (or
“node”) in a list. In our interview Bolter pointed out that he had taken a lot of
computer science courses, and “linked lists obviously are the key to thinking about
hypertext, if you want to implement it in the most obvious way” [Bolter 2011]. GLOSSA was a
basic implementation in this sense, based on Bolter’s experience with classical
texts. “You’d tab a text and then you’d be able to associate notes with any
particular word or phrase in the text. . .an automated version of classical texts with
notes” [Bolter 2011]. It wasn’t clickable because the IBM PC wasn’t clickable at the time;
the user would move the cursor over the word and select it. This linked data
structure formed the basis for their future experiments “but only in the sense that
it had this quality of one text leading to another” [Bolter 2011].
In his well-researched chapter on afternoon, Matthew
Kirschenbaum suggests that Storyspace has “significant grounding in a hierarchical
data model” [Kirschenbaum 2008, 173] that has its origins in the tree structures of “interactive
fictions of the Adventure-type” [Kirschenbaum 2008, 175]. This is an interesting observation, and Joyce
mentions Adventure-type fictions as an influence in the Markle Report ([Bolter and Joyce 1986, 19], although
he also mentions numerous cultural and literary influences including the novels of
Sterne and Joyce, Cortazar’s Hopscotch, even jazz music).
Neither Bolter nor Joyce believe, however, that they were influenced by
Adventure-type games, except in the sense that they were “a kind of zeitgeist at the
time” [Bolter 2011]. Joyce is especially adamant that they were trying to avoid
hierarchical structures [Joyce 2011a]. Human memory is fallible though, particularly
concerning the past - and data models are very hard to trace at any rate (they
always reflect something else, popping up everywhere like the grin of the Cheshire
cat, as [McAleese 1999] points out).
For my part, I’d like to suggest that if there is a technical “origin” to the
tree-like data structure in Storyspace, it is more likely to have come from the
functions at hand in the computer language Bolter was using than Adventure-type
games, namely linked lists. In other words, the tree-like structures were just part
of the forest of software design[19]. In my investigations into hypertext history, one surprising find is that
this very basic programming function has been quite influential (the reader will
have to look at my new book to discover just how deep they go). This is a far more
pedestrian explanation, almost trivially true, but sometimes programming is about
implementing the most obvious sequence of instructions.
The first product of Joyce’s and Bolter’s conversation around the original program,
GLOSSA, was called TALETELLER, a name that stuck until 1985 (as Matthew Kirschenbaum
observes [Kirschenbaum 2008, 174]). Bolter had GLOSSA in hand when they first started
collaborating, but its successor, TALETELLER, was a product of tinkering together.
As Joyce recalls, “We would have these conversations, we’d talk about things, and
[Bolter] would say ‘let, let me try this in code,’ and then shoot back something
and say, ‘Well, is this going to work?’” [Joyce 2011b].
TALETELLER was an attempt to hack together, and without any visual structure, the kind of associative program that would work for what we wanted to do [Joyce 2011b].
Around this time, Joyce started preparing what he called “pseudocode,” a delightful
mash of poetic handwritten text, symbols and logical notations, to explain his
ideas. Given the lyrical, polyglot style of his fictions and critical work, we would
expect no less in his technical projects; Joyce has always written to his own loony
tune music, to paraphrase him in Of Two Minds [Joyce 1998, 181].
In his book Mechanisms, Kirschenbaum explains how this
pseudocode was eventually used to plan and write Joyce’s fiction afternoon [Kirschenbaum 2008, 182–183]. Joyce generally uses an arrow → “to indicate a link, and symbols for various operators,” e.g. an
ampersand to indicate an AND condition [Kirschenbaum 2008, 182]. Joyce thinks the
process may have been a little more complicated than this, however, and that the
pseudocode was more like a lyrical “mnemonic” than a draft or plan. The trope of
memory returns;
There exist only scraps of notes from writing [afternoon] in the Harry Ransom Centre archive and they are (and were) mnemonics for some fairly complex sequences of the fiction, which otherwise I wrote totally “in” the system of Storyspace, reading and re-reading sequences, and experiencing guard field permutations, from the first. Indeed this was why, in your wonderful phrase [in the next paragraph], I was “hyperconscious” of where the narrative has already been [Joyce 2011b].
Joyce’s “urge toward a novel that changes each time it is read” [Joyce 1998, 181]
inspired the most distinctive feature of Storyspace: guard fields.
As we have seen, one of Joyce’s key rhetorical strategies is recurrence (the
“sounding of memory in air”), phrases that appear again and again as the writing
progresses, relying heavily on the reader’s own memory of previous instances of the
same phrase or node to alter their present experience. He is hyperconscious of where
the narrative has already been. Guard fields control a reader’s experience of the
text based on where they have been. This is done by placing
conditions on the activation of links, “preventing a link from being followed unless
a specific node has been visited” [Ryan 1999, 138]. The reader’s experience is thus
literally as well as metaphorically shaped by the path already taken, enabling Joyce
to repeat terms and nodes throughout the work and have them reappear in new
contexts. Conversely, they enable Joyce to ensure that readers don’t access key
nodes until they have seen or visited others; although the narrative seems to be
following a path that may have been followed before, it changes slightly at the next
turn.
The most famous example of the use of guard fields is the “white afternoon” node in
afternoon, the node that reveals that Peter may have
inadvertently killed his own son. Hypertext critic Jane Yellowlees-Douglas (Joyce’s
favourite reader, whose dissertation was on afternoon) argues
this node “completes” the work for her, but it is accessible only after the reader
has seen a certain sequence of other nodes; “a succession of guard fields ensures
that it is reached only after a lengthy visitation of fifty-seven narrative places”
[Yellowlees-Douglas 2004, 106]. Guard fields are a powerful device, and one that
Joyce deploys to full effect in afternoon. According to the
Markle Report, Joyce “agitated” for them to be included in the design of Storyspace
from the outset, and Bolter quickly obliged in their fledgling program:
It was just a matter of putting a field into the link data structure that would contain the guard, and then just checking that field...against what the user did before they were allowed to follow the link... It was [that] idea you know and it was Michael’s. [Bolter 2011]
Guard fields, along with the topographic “spatial” writing style, have remained
integral to the Storyspace program for 30 years hence.
In 1985 Bolter became involved with an interdisciplinary research group at UNC
directed by a colleague from computer science, John B. Smith. Smith formed this
research group when he returned to UNC as a faculty member in 1984 [Smith 2011].
Bolter and Joyce have always credited Smith as a coauthor of Storyspace, but Smith
wanted to clarify in our interview that he wasn’t involved in the development of
either TALETELLER or Storyspace — he feels he made more of an intellectual
contribution insofar as “there was a sort of cloud of ideas that we were all drawing
on in the discussions we’d have in this research entity at UNC, Textlab” [Smith 2011].
Textlab was comprised of three people from computer science including Smith, a
cognitive scientist called Marcy Lansman, and Bolter from classics. The group would
have weekly meetings at Chapel Hill, “and we would debate and discuss’” problems and
issues around hypermedia, data structures and the visual representation of writing
and thinking [Smith 2011]. Textlab was a very productive group, and they developed
a number of hypertext systems between 1984 and 1989. Primary among them was the
Writing Environment (WE), the system with which Smith was most closely associated.
This expository writing system was contemporaneous with Storyspace.
The development of the Writing Environment was central to these discussions; it was
the major project concerning Textlab. WE was a hypertext system built for the PC
explicitly designed in accord with a “cognitive model of the writing process” [Smith et al. 1986]. Unlike Bolter and Joyce, Smith and the
rest of the WE team were “not interested in prose, in fiction”. Designed to produce
paper documents for professionals, users employed the system to represent their
ideas as nodes, move them into “spatial” clusters, and link them into an associative
network. Crucially, this network was not intended to be read at a screen like
Storyspace fictions are. WE would assemble the nodes in sequence and print a linear
document. If the user edited this tree structure, then the structure of the
corresponding printed document would change. The model was derived from a review of
the literature in cognitive psychology, composition theory, and the nascent field of
Human Computer studies (this would become HCI). Bolter coauthored a seminal paper on
WE in 1986 with Smith, Lansman, Stephen Weiss, David Beard and Gordon Ferguson, and
contributed to its development.
From the outset in the discussions this group were having, however, according to
Smith, it became apparent that:
Jay was more interested in the Macintosh hardware, and he was also interested in applying these ideas to literature and a literary context. So Jay at some point said “Ok, I think I’m going to set off and do an alternate system,” probably incorporating a lot of the ideas that were floating around in this group, and also, of course, creating new ideas of his own [Smith 2011].
The Markle Report refers to a system that “strongly influenced Storyspace” at
this time called PROSE, credited to John B. Smith [Bolter and Joyce 1986, 13]. Smith does not recall making
a system called PROSE, however, and believes it is referring to an early version of
WE (2011)[20]. Although there was actually a program around at the time called PROSE
(Prompted Revision of Student Essays, built by Nancy Kaplan, Stuart Davis and Joe
Martin[21]), both Joyce and Bolter believe that WE was far more influential[22]. Either way, the discussions that this interdisciplinary research entity
were having, and the “cloud of ideas” surrounding the development of what would
become WE in Textlab, influenced the development of Storyspace[23].
Joyce and Bolter’s next implementation, again in Pascal, was called TALETELLER 2.
They both emphasized the influence of the Macintosh user interface on their thinking
at this time, particularly the idea of representing the working space as a series of
nested levels or spaces inspired by the “idea of containing documents inside
folders” [Bolter 2011]. The way the Mac did this was too cumbersome and
hierarchical, however; on a Mac the user retrieved a piece of text only by “going
into the document folder to open the document” [Bolter 2011]. This file structure
was not designed to be redrawn at will, and the assumption was that users were
concerned with editing documents, not their connections to
other documents. Bolter and Joyce wanted it to be more “fluid, so basically
documents and folders are the same thing, you can open any particular cell and it
can be either a document or it can be a container [for another document]” [Bolter 2011]. Again, the metaphor Joyce and Bolter had in mind was the writer as
cartographer — not the writer as Apple filing clerk.
The Markle Report refers to a meeting at this time with Dr. Kristine Hooper from the
Apple Educational Division, who explained the Aspen Movie Project at MIT, an early
hypermedia system that allowed the user to take a virtual tour of surrogate travel
through the city of Aspen, Colorado. (Joyce now believes it wasn’t a meeting but a
conference; “If I wrote that in the Markle Report, it is incorrect. We didn't have a
meeting with Hooper but rather I attended a conference where I heard her speak
about, and demo, the Aspen Movie Project” [Joyce 2011b]). This system
had a navigation map overlaid above the horizon that allowed the user to jump to a
two-dimensional city map.
This reinforced a decision, prompted by both Bolter’s initial working paper and the limitations of the Macintosh screen, to present users with a small (but enlargeable) depiction of the hierarchical tree which would largely serve as a mapping space and for manipulation of large-scale structures, i.e. deleting and moving sub-trees [Bolter and Joyce 1986, 20].
As noted earlier in this chapter, the topographic metaphor has always been integral
to this hypertext system — both in the interface design and in the development of
technical functionalities. “From the beginning,” remembers Joyce, “we tried to find
the consonant, physical, visual structures that would suit associative [writing]”
[Joyce 2011a]. In 1985, the team dubbed the program Storyspace, a name chosen to
reflect this metaphor. Also in 1985, they received a grant from the Markle
Foundation “to study methods for creating and presenting interactive compositions…by
developing a microcomputer-based ‘structure editor’” [Bolter and Joyce 1986].
Aside from providing a much-needed injection of funds at the time, this resulted in
the Markle Report, which has proved most useful historically.
Although this report covers dozens of influences and design decisions over almost 60
pages, there is no reference to Joyce’s fiction afternoon,
only to his “ambitious but somewhat unformed” desire to create a multiple fiction [Bolter and Joyce 1986, 12]. Joyce did, however, have a copy of afternoon to
present and distribute one year later at the Hypertext ’87 conference at UNC Chapel
Hill, November 13-15. If hypertext had a coming-out party, then it was this first ACM hypertext conference.
Many of the early hypertext systems were presented at Hypertext ‘87, and many of the
personalities behind them were walking the halls. It was an exciting time, recalls
John Smith; it was the first large international conference devoted to hypertext and
“the hypertext community discovered that it was bigger than anyone realised” [Smith 2011].
Smith was there with his Textlab colleagues presenting the Writing Environment WE
(Smith actually co-chaired the conference with Frank Halasz). Joyce and Bolter were
there, at their “famous, but not mythological rickety table, where we sat outside
the plenary sessions” [Joyce 2011a]. Andy van Dam gave a legendary keynote
presentation.
Apple presented HyperCard with much pomp and ceremony, but it was met with an
undertone of disdain; the feeling was “we all knew systems that had a good deal more
functionality, like FRESS, and we sort of resented being told, ‘here’s hypertext’”
[Joyce 2011b]. Ted Nelson also presented a paper on Xanadu (“All for One and One
for All”) and Janet Walker presented a paper on the Document Examiner. “It was
fabulous,” recalls Joyce, “the whole hypertext world discovered one another”
[Joyce 2011b].
The demos at Hypertext ’87 were literally at the center of the conference. One big room, lots of big systems, systems we’d been reading about for years but that you’d never actually seen before. There in one room: Ted Nelson’s Xanadu, Engelbart’s NLS/Augment, Walker’s Symbolics Document Explorer, Joyce and Bolter with Storyspace, [Bernstein’s] Hypergate, Meyrowitz and Landow and Yankelovich and van Dam with Intermedia. [Bernstein 2008]
In the midst of this party, Joyce and Bolter presented their paper on Storyspace
[Bolter and Joyce 1987]. There is a brief note towards the end of that paper, enclosed in
parentheses, that a copy of afternoon is “available to
interested readers” [Bolter and Joyce 1987, 49]. Joyce recalls that he worked hard to get the
first version of afternoon done by that meeting so he could
distribute it on diskette as an example of what could be done in Storyspace:
“[a]bsolutely. It was written for that meeting, I mean not written about that
meeting, but distributed as an example” [Joyce 2011b]. This is a modest estimation of the
work, however (Joyce is characteristically modest); afternoon
was no mere footnote to hypertext history, a little “example” of the kind of thing
you could do in Storyspace.
Along with Stuart Moulthrop’s Victory Garden, afternoon is arguably the most important hypertext fiction in
the history of computing. Citations of it are too numerous to include here because
“it appears in virtually every scholarly publication on literary hypertext,” as
Astrid Ensslin puts it [Ensslin 2007, 71]. If there is a hypertext “canon,” then afternoon belongs there: it appears in “every hypertext
seminar in the Western hemisphere” [Ensslin 2007, 71].
It also continues to influence Storyspace: Bernstein, who has maintained the code for
the last twenty years, pointed out in our interview that his design goal is fairly
simple; “[it] has to always be able to run afternoon and Victory Garden and Patchwork Girl…the
agenda related to the writing process is less prominent in my mind than perhaps it
used to be in Michael’s” [Bernstein 2011]. That said, more has been written about afternoon than any other work of digital literature; as
Bernstein put it, “if you don’t know afternoon, you don’t
know hypertext” [Bernstein 2011].
The closest reader of Joyce’s fictions has always been Jane Yellowlees Douglas
(particularly in her book, “The End of Books, or Books Without End?” 2000), and
several new interpretations of afternoon have been published
in recent years by young scholars, most notably literary critic Alice Bell (2010)
and Bangor University’s Astrid Ensslin (2007).
For this reason, I will not take the reader through yet another interpretation of afternoon; this has already been done, elsewhere and
brilliantly. I will simply note that the fiction Joyce distributed on diskette at
Hypertext ’87 did more than just demonstrate Storyspace; it demonstrated what
network literature could be, and arguably opened a space for that genre to evolve.
[A]fternoon was also the realization of Joyce’s long-held
dream. It is a book that changes with each reading.
As Matthew Kirschenbaum observes in his own chapter on afternoon, there is a journal entry in the Joyce Archives dated June 4,
1988, that notes:
What is not recorded here, but exists in a series of papers, letters and what-have-you is the experience of succeeding at what I set out to do before Jay and I first contacted each other: “to write a novel that changes each time you read it” came to be the story, afternoon, which will likely be the centerpiece of S[tuart] Moulthrop’s first disk magazine. (Journal, 1987-89, also cited by [Kirschenbaum 2008]).
In 1988, Joyce, Bolter and Smith formed a startup they called Riverrun Ltd., a return
to Joyce’s favourite metaphor (and an evocation of the famous first word of James
Joyce’s Finnegans Wake). The official letterhead from 1990
has running water as its logo[24]. Together they approached Brøderbund Software, Inc, an American software and
game manufacturer best known for the Carmen Sandiego and Galactic Empire games. According to Matthew Kirschenbaum, who
went through the correspondence between Joyce and Brøderbund, it was eventually
dropped in 1989 because of “what was perceived to be a weakening in the software
market, as well as lingering confusion over what the tool did and who its potential
audience was” [Kirschenbaum 2008, 176]. After Broderbund, Joyce entered into
conversation with Mark Bernstein, the founder of Eastgate Systems. Eastgate signed a
contract licensing Storyspace in December 1990 and has distributed it since that
time.
Pieces of editing software, particularly hypertext systems, are not known for their
shelf life. None of the first-generation hypertext systems from the 60’s and 70’s
have survived into the modern era. Even what is called the “second generation” of
hypertext systems from the late 70’ and early 80’s, the contemporaries of Storyspace
– FRESS, Intermedia, Smith’s WE, Apple’s Hypercard – are no longer in use.
Storyspace, however, has survived for almost thirty years; content is still being
written for it, it still being bought and sold, and it is still being used in
pedagogic environments, although the user base is probably fairly small (a couple of
hundred users). This is virtually unheard of in the history of computing software;
systems just don’t last that long. The reason Storyspace has survived is fairly
simple: Eastgate Systems has been maintaining it.
It would be remiss to write a history of hypertext without devoting time to Eastgate
and to its founder, Mark Bernstein. In addition to the development of early
hypertext systems, “the history of hypertext was also driven by efforts to create
hypertext content for the wider public” [Kitzmann 2006]. Eastgate Systems has
been the major publisher of hypertext fiction for over twenty years, and published
the majority of what is now considered “serious literary hypertext” (this is also
Eastgate’s tagline), including Joyce’s afternoon, Stuart
Moulthrop’s Victory Garden and Shelley Jackson’s Patchwork Girl. In addition, Bernstein has maintained and
extended the Storyspace code since 1990 (it has been entirely rewritten in C, and
doesn’t share a single line of code with the original Pascal version, which presents
its own conundrum: where is the Storyspace in Storyspace?). He has also made
significant contributions to hypertext as a critical discourse[25]. As John Vinder puts it on his blog,
Who has made a more substantial contribution to the field of electronic literature than Mark Bernstein? This makes for a fun parlor game if you know anything about the field. You could name individual authors whose works helped to legitimize the field of born-digital literature. If you go with this approach, you may suggest Michael Joyce, Shelley Jackson, or Stuart Moulthrop, yet all these authors were published on Bernstein’s Eastgate Systems. [Vinder 2010]
Eastgate pioneered hypertext publishing in the late 80’s and arguably legitimised
hypertext as a creative endeavor. As Australian hypertext theorist and author Adrian
Miles remembers it,
They were shrink wrapping stuff and putting it in envelopes and mailing it out [before the Web]. You’ve got a physical thing with a cover and a floppy disk or a CD, originally [they were] floppy disks, that you load onto your computer. So from the get go it was sort of stamping itself as this is a literary enterprise, it’s not experimental, and it’s not here are some hypertext experiments. [Miles 2011].
Eastgate has also been criticized for the dominance of its titles in the hypertext
canon, and the fact that the company sells these titles for a profit[26]. It is not universally celebrated in the historical literature. Most
notably, Matthew Kirschenbaum managed to write an otherwise brilliantly researched
chapter on the evolution of afternoon and Storyspace while devoting but a sentence to Eastgate’s role in this story
(“a small company specializing in hypertext systems research,” [Ensslin 2007, 177]) and to Bernstein’s
role personally (he “maintains the code” [Kirschenbaum 2008, 162]). Admittedly
Kirschenbaum and Bernstein have their own history, and it is best for readers to
interpret this themselves rather than have me recount it.[27] It must be said, however, that it was Eastgate’s business model that
garnered a profile for its authors in the United States and internationally before
the web, a direct “result of their marketing and distribution by Eastgate systems”
[Ciccoricco 2007, 2].
If we have now come to the point where we might talk about a hypertext “canon,” and
indeed Astrid Ensslin has just published a book arguing we should do that,
this is due in no small part to the publishing and marketing of titles by Eastgate.
From early on, Bernstein sought to find and publish hypertexts because he felt the
literary world needed some real examples; it was all hypertext theory, no “serious
hypertext”. As Stuart Moulthrop observed, in 1990, Bernstein stood before the
European Conference on Hypertext and uttered the famous first words, “Where are the
hypertexts?” – a question that is arguably still just as urgent. Eastgate was set up
to provide an answer to that question.
Bernstein also developed his own hypertext system, which was operational by 1988 –
Hypergate. Hypergate is noteworthy because it introduced the concept of
breadcrumbs – showing whether a link takes you back to a place you’ve already
seen. This concept was invented by Bernstein, and eventually made its way into the
Mosaic browser (Eastgate never implemented breadcrumbs in Storyspace). Possibly for
this reason, Bernstein was initially more interested in signing Joyce’s hypertext
fiction, afternoon, than he was in Storyspace. As Joyce
recalls it, “afternoon was my bargaining chip in many ways.
That’s how I remember things. I made the publishing of afternoon contingent on [Eastgate signing Storyspace]” [Joyce 2011b]. Bernstein
thought this was overstating the situation. He remembered approaching Joyce about
afternoon, because it seemed a natural fit, but he
“didn't expect Storyspace to be on offer. I might have seemed more reluctant than I
was” [Bernstein 2011].
Beginning in 1989, these discussions went on for some time:
At Hypertext ’89, I had discussions with Michael Joyce where we basically agreed that we were going to do this, and Broderbund had returned the right to Storyspace to Michael and Jay. So from that time for the next several months we proceeded under the assumption that it would be. [Bernstein 2011]
The contract with Eastgate licensing the development and maintenance of Storyspace is
dated December 17, 1990. Over the next five years, a number of hypertext fictions
were written in Storyspace and marketed by Eastgate that have since attained (or
should attain, according to Ensslin’s book Canonizing
Hypertext 2007) “canonical” status. These include Moulthrop’s Victory Garden (1991), Carolyn Guyer’s Quibbling (1993), Jane Yellowlees Douglas I Have Said
Nothing (1994) and Shelley Jackson’s Patchwork Girl
(1995).
So important was Storyspace (and Eastgate) to the early development of the field,
argues Katherine Hayles, that works created within Storyspace have come to be
known as the Storyspace School [Hayles 2008, 6]. Alice Bell’s recent book on hypertext fiction
similarly argues for the creation of a hypertext canon, and analyzes four
hypertext fictions that were created in Storyspace, providing “a critical theory for
the analysis of Storyspace fictions” [Bell 2010, 7].
For my own part, I find it strange that recent theorists are arguing for a formal
canon – it is almost as though we have forgotten the lessons of poststructuralism.
What, exactly, is wrong with margins and interstices? Isn’t that where all the
interesting stuff happens? Why canonize it? Stuart Moulthrop wrote an interesting
response to Alice Bell’s book on Storyspace fiction in the Electronic Book Review:
For Dr. Bell, the adjectival niche is a term of suspicion. I disagree, having learned to think of literary or cultural niches not as traps, but as necessary predicaments or premises. As I see it, if dwellers in these dens need to escape anything, it is the niche distinction itself, the overriding concern with separation of specialist and popular markets. [Moulthrop 2011a]
This is the legacy of Storyspace. Whichever side you fall in this debate, the fact is
that Storyspace fictions predominate in what arguably already is (or should be) a
hypertext canon. The arrival of the Web and HTML changed the landscape for hypertext
and for Storyspace. Storyspace was originally built (as were all the early hypertext
systems) as a standalone system – in this case running under the Macintosh OS. It
was not intended to create networked hypermedia like the texts found on the Web.
Arguably, it still belongs to the pre-Web era (and by including it in this story, I
have contributed to that perception).
Bernstein extended the program in 1995 to enable users to export HTML templates, but
as Katherine Hayles points out, “ the limitations of Storyspace as a web
authoring program are significant. For example, it has a very limited palette of
colors and cannot handle sound files that will play on the web”[28] [Hayles 2008, 6]. Guard fields are also very difficult to implement on the web, and the HTML
link model simply cannot support some of the more complicated link models of the
earlier hypertext systems.
The relationship between Storyspace and the web has never been entirely easy, in part because the Storyspace link model is richer than the web’s and it turns out that for the sorts of things people want to do in Storyspace the richness matters a lot… Guard fields are invaluable for large scale narrative and we have not come up with an alternative [on the web] [Bernstein 2011].
Authors also started turning to Flash and to some extent Javascript around the turn
of the century. We now have a generation of writers who are willing to script within
Application Programming Interfaces (APIs) – or as Stuart Moulthrop puts it, “a wave
of Jay Bolters”[29]. For these reasons, although Storyspace continues to be used to produce
stand-alone works, “it has been eclipsed as the primary web authoring tool for
electronic literature” [Hayles 2008, 6]. Like all the first generation hypertext
systems, the web presented a completely different model for building hypertexts.
Storyspace was never about engaging a crowd, and it has never really entered the web
era.
Bolter has a rather pessimistic view of the impact of the web on networked
literature, and on the legacy of Storyspace. “The web compromised on the vision of
hypertext,” he observes. It compromised on the “literary, political, social vision
of the original hypertext movement” [Bolter 2011], and it allowed work to be
commercialized quickly and easily. This has its benefits, of course. The web
provides a massive new audience and a quick (and free) way of distributing products
to that audience – but the web obliterated Bernstein’s original business model. The
whole concept of selling hypertext is made immensely more difficult when everywhere
literature is given away for free. As Bolter pointed out, the literary community
“often revolted against this, because it was so easily commercialised” [Bolter 2011].
The most famous example of this rebellion against the web is Robert Coover’s
“Literary Hypertext: The Passing of the Golden Age” (1999). In this keynote address
to the second Digital Arts and Culture (DAC) Conference, Coover lamented the passing
of a specific body of digital literature – what we would now classify as the
Storyspace School – and the rise of the “noisy, restless, opportunistic,
superficial, e-commerce driven” web texts, that “are about as appealing as a scatter
of old magazines on a table in the dentist’s lounge” [Coover 1999]. The Golden Age
of hypertext has passed, the visual usurping the verbal (the margins, in fact, used
to be the site for revolutions: perhaps this is why Moulthrop is reluctant to leave
them).
Looking back on its history, one of the most interesting aspects of Storyspace is the
fact that it bridged the gap between humanities and computing science so early, and
that it was taken seriously by both fields. This was largely due to the fact that
Bolter “had a seat in both worlds,” as Joyce points out, collaborating with
his engineering colleagues from the outset [Joyce 2011b]. Unlike Nelson and Engelbart, Bolter and
Joyce were not ridiculed; on the contrary, they both felt embraced by computing
science. This set a precedent for future work in the area. In fact, according to
Joyce, “what has gone unremarked is Storyspace’s contribution to a dialogue, if not
across the two cultures then at least across the engineering and literary
communities” [Joyce 2011a].
Notes
[1] Though in many cases the “critical” works are also fiction,
and the “books” are also critical works.
[2] Historians attach
great importance to “primary evidence” — source material and documents that
were created at the time under study. Matthew Kirschenbaum notes in his
recent book, Mechanisms (2008), “The single indespensible source for the
early history of Storyspace is Joyce and Bolter’s report to the Markle
Foundation, which funded Storyspace for a crucial development year in 1985”
[Kirschenbaum 2008, 172]. The copy I will be using here is held at the Michael Joyce Archives
at the Harry Ransom Research Centre, dated 1986 (hereafter “the Markle
Report”). The Markle Report was written during the first development cycle
for Storyspace, and describes both the research process behind the program
and the tool itself as it was used at the time over 60 typed pages; for this
reason, I will be relying heavily on it. That said, human memory is
fallible, but so are documents. The Markle Report was written mainly by
Joyce, and in the manner of any document assembled in haste and addressed to
a funding body, it presents a particular view of the task at hand (and
sometimes gets the minor details mixed up).
As Joyce put it when I queried his use of some terms in the report, “I feel like I’m hoisting my own petard, but obviously I wrote the whole Markle Report; my imprecisions of language are coming back to haunt me” [Joyce 2011b]. To get a more detailed picture I will be supplementing this source with oral histories obtained in 2011 – most particularly the recollections of Michael Joyce, Jay David Bolter, John B Smith and also Mark Bernstein, who has maintained the code for the last twenty years. Stuart Moulthrop and Nancy Kaplan have kindly helped with some of the minor details, and Michael Joyce provided me with a copy of his unpublished manuscript, Re:mindings (he was reluctant to part with this, but it is used by permission). I also rely heavily on Joyce and Bolter’s critical work because this theory influenced the development of the system.
As Joyce put it when I queried his use of some terms in the report, “I feel like I’m hoisting my own petard, but obviously I wrote the whole Markle Report; my imprecisions of language are coming back to haunt me” [Joyce 2011b]. To get a more detailed picture I will be supplementing this source with oral histories obtained in 2011 – most particularly the recollections of Michael Joyce, Jay David Bolter, John B Smith and also Mark Bernstein, who has maintained the code for the last twenty years. Stuart Moulthrop and Nancy Kaplan have kindly helped with some of the minor details, and Michael Joyce provided me with a copy of his unpublished manuscript, Re:mindings (he was reluctant to part with this, but it is used by permission). I also rely heavily on Joyce and Bolter’s critical work because this theory influenced the development of the system.
[3] [Barnet 2013]
[4]
Eco writes “Joyce (the living one) is here to prove
that Joyce (the dead and everlasting one) gave us with Finnegans Wake a good
example of hypertextual experience... A textual hypertext is finite and
limited, even though open to innumerable and original inquiries. Then there
is the possibility outlined by Michael Joyce, hypertexts which are unlimited
and infinite, a sort of jazz-like unending story” [Eco 1994], reprinted,
without the living/dead Joyce reference as the “Afterword” in The Future of
the Book.
[5] I’ve gleaned this information largely from Bolter’s CV:
http://www.jdbolter.net/bio-and-cv.html
[7] He had also done some work on interactive text, and gave Joyce a copy of his
article “The Idea of Literature and the Electronic Medium” in 1983. This was
later published in TOPIC in 1985 (Joyce refers to it in the Markle report as
“some thoughts on literature in an electronic medium,” [Bolter and Joyce 1986, 12].
[8] The research led by Brooks at UNC, however, was really more in line with Engelbart’s way of thinking — the computer as intelligence amplification rather than artificial intelligence.
[9] In the 1980s a form of AI program called “expert
systems” was adopted by corporations around the world and knowledge became
the focus of mainstream AI research. Traditional AI took a back seat to
research in this area and in neural networks. In those same years, the
Japanese government aggressively funded AI with its fifth generation
computer project. Another encouraging event in the early 1980s was the
revival of connectionism in the work of John Hopfield and David Rumelhart.
Once again, AI had achieved success.
[10] Stuart Moulthrop, personal communication 2011.
[11] Matt Kirschenbaum details this correspondence well in his chapter on afternoon and Storyspace; I will not cover it again here.
[12] Indeed, as Stuart Moulthrop observes in response to this
chapter, hypertext turns AI inside out.
[13] Again, the influence of AI is clear in this book; The
New York Times went so far as to call it “the most illuminating book that
has yet come [our] way on the topic of artificial intelligence” [Ayer 1984].
[15]
“...I think I probably did call it TEXT at one point but
that was such a boring name compared to GLOSSA” [Bolter 2011]."
[16]
Stuart Moulthrop, personal communication.
[17]
Along with FORTRAN and BASIC. Pascal is obviously still
in use, but is no longer the primary development language for Apple
machines.
[18]
When we called it TALETELLER 2, we were already working
on Mac by that time [Bolter 2011].
[19] Stuart Moulthrop, comment in the margin of this
article.
[20] Interview, 2011. This suspicion was later confirmed by
both Joyce and Bolter.
[21] Developed 1985-87 with funding from Cornell University
and Apple.
[22]
Joyce wrote in an email: “the ‘strongly influenced’
makes me think I mixed up the names of Nancy's program, which I knew about
but hadn't used and John's, which Jay indeed felt we had to acknowledge
given his work with John's group”.
[23] We do not have space to go into more detail about WE
here, but it was an important system in the history of expository or
“professional” writing systems; it was presented at Hypertext ’87 alongside
FRESS, HyperCard, Storyspace and NLS.
[24]
Letter to Barton Thurber from Riverrun, February 2 1990,
Joyce Archives.
[25]
Bernstein’s paper, “Patterns of Hypertext” (1998) is
widely cited in the field.
[26]
For example, Ensslin seeks to redefine
“producer-defined, commercially ideologised” terminology that has come into
widespread us as a result of “specified hypertext software, mostly traded by
Eastgate Systems” [Ensslin 2007, 7].
[27]
Here is a link to Bernstein’s post: http://www.markbernstein.org/ELO.html and here is a link to
Kirschenbaum’s response: http://otal.umd.edu/~mgk/blog/archives/000087.html
[28]
Though Hayles doesn’t seem to realize these limitations
also apply to HTML.
[29]
Comment to the author.
Works Cited
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Published by: The Alliance of Digital Humanities Organizations and The Association for Computers and the Humanities
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Unless otherwise noted, the DHQ web site and all DHQ published content are published under a Creative Commons Attribution-NoDerivatives 4.0 International License. Individual articles may carry a more permissive license, as described in the footer for the individual article, and in the article’s metadata.
Comments: dhqinfo@digitalhumanities.org
Published by: The Alliance of Digital Humanities Organizations and The Association for Computers and the Humanities
Affiliated with: Digital Scholarship in the Humanities
DHQ has been made possible in part by the National Endowment for the Humanities.
Copyright © 2005 -
Unless otherwise noted, the DHQ web site and all DHQ published content are published under a Creative Commons Attribution-NoDerivatives 4.0 International License. Individual articles may carry a more permissive license, as described in the footer for the individual article, and in the article’s metadata.
