os muestro una entrevista que yo misma le hice a Deena Larsen, que muy
amablemente me contestó.
encontrar su opinión sobre el copyright,ya que como al hacer el
último test sobre esto, sentí una gran curiosidad sobre
podía opinar Deena Larsen, también podemos un link
hacia un artículo que escribió ella misma sobre su tesis
doctoral y muchas más cosas que os gustara saber.
Why do you write hypertext?
I write hypertext because I am fascinated with the possibilities. I
media--as I say on my website,
I am addicted. Where else can you even think of
so many layers of complexity
and connection? Every work is a totally new
creation, a new genre. Its as
if there were only one marble sculpture, one iron one,
and so many thousands of
of possibilities for sculptures that no one
could repeat a work.
Why did you decide to write Marble Springs and how long did you use
to write it?
I grew up in Colorado and love our mountains. We have a rough and
history, not always a pretty
one. When I was a child, I used to love to go to our
Colorado History Museum and
spend hours poring over old photographs, newspapers,
diaries. It always amazed me
that the history said the MEN did everything, when
really when you read the
the women did most of the work. Yet they
were never mentioned.
Then I moved to Japan for 3 years, and I was terribly
homesick. I started
write the stories of women in
a fictional Colorado town. I started with Quilts,
and wondered who Zandra was.
Then I wrote Zandra and wondered who Emmy was, and
so forth. I put all the poems
on plastic cards and stuck the cards into houses
in a model railway. Then I
all the cards together with embrodery thread.
People could walk around the
railway table and pick up a card, and follow the
thread to the next card. This
was idiotic. STUPID. Way too many threads. Someone
said, "computers." I said
and spent the next 3 years programming and
reprogramming. So from beginning
to end, maybe 6 years. A little more.
Who can read your hypertext? Can all the people read your work?
I try to write for everyone--to make sure that everyone can at least
good time with the writing.
In Samplers, you can hit the return button and get a
story, or you can click on links
and get connections, or you can get really
advanced and find all the hidden
stuff or read the stories in the links. In Marble
Springs, you can go to the
and just read the poems (Like Spoon River
Anthology) or you can follow
links, or you can click on random elements. So many
different types of readers can
explore in many different ways.
What are hypertext characteristics?
What hypertext characteristics do you see in Marble Springs?
My favorite definition has always been "hypertext
is writing that you just
can't do in a
linear page 1, page 2, page 3 format
." What do you think you can
in hypertext that you can't do in print?
This may help answer the other question, too. What does Larsen do in
Springs do that she could not have done in print? This is a very
question for me, because at the time my friends were all telling me,
you IDIOT!!! WHY
are you killing yourself, spending so much time on this when you could
it out???? But for you, it is an academic question and one that is
good for a
paper. So...What is in Marble Springs that would not show up in a pring
Why can't you just print all the screens to Marble Springs and have
As to your second question, When you started to write hypertext you would have some knowledge about
it, what were they? What did you think when you heart the word Hypertext the first time?
did I know about hypertext when I started to write it? Nothing.
Zilch. Zip. I first started
to write a poem and I wanted to see if I could squeeze
a life into a description of
quilts sewn. That was Laura Keeperly. But in
Laura's poem/story, a person
named Zandra appeared. So I had to ask, Who is Zandra?
and in Zandra's story, Doc Nancy
shows up. So now, who is Doc Nancy?? and so
forth. I wrote these in Japan,
when I was homesick for my mountains. I had done
a lot of research on Colorado
history beforehand, and I did a lot during the
re-writing process. So, now
I have a bunch of poems with connected characters. (
This is very much like my
print book, Spoon River Anthology --HINT: What
does Marble Springs does that
Spoon River Anthology does not--then you will know
what hypertext characteristics
Marble Springs has).
Then I put all of these poems
together and tied them with embrodiery thread.
And no one could read it. So
I used HyperCard and put the whole thing on the
computer. And then I had to
write a thesis to justify my use of the computer (in
those days, only authorized
students could touch a computer. They were very rare.
I had to teach my advisors how
to use one!) So I interviewed all 7 of the
hypertext writers at the time
(Stuart Moulthrop, Michael Joyce, Carolyn Guyer,
William Dickey, Jay David
Mark Bernstien, Sarah Smith, Martha Petry) for my
Lastly, what differences are between the firts hypertext you have written andthe last?
what kind of evolution have they suffered?
love the idea of suffering evolution. I have to use that somewhere!
this one is tough. HyperCard is no more. So now I use Flash and HTML.
I use Storyspace. But each of these environments is very different--it
comparing a painting in water colors or oils or even embossed leather.
my sight now, so now I use a lot of photography (like firefly). I
back and told so many stories--maybe it is a lack of time, or maybe
since I live
in Colorado I don't need to create that kind of world for myself. I
do a LOT
more with structure and complexity. MS was the only work I've done
which did not
have a VERY rigid structure. Firefly stanzas, for example are 6 lines
each line has 5 lines. even I'm simply saying (just out in InFlect
this month) has
a structure. I'm working on an Exercise in Formality, which will have
Copyright issues are complex. The problem is that writers and artists like to
eat. Now, we usually pay people for their labor. But what if their labor results
in a book or a hypertext or a piece of art? How can we pay them? Who should
Also, writers and artists want to be able to make sure that people do not
change the work without permission. How would you feel if someone took your paper or
your poem, changed some words, and spread it around as your poem?