Notes of Thought.....

• As modern technology users
• use technology to make our social choices.
• hypertexts such as Wikipedia
• creating personal stories through the use of film and sound
• allowing the user to use laptop as a means of moving through the labyrinth the artist has created
• this labyrinth does not require the audience to move through the space physically but through the moving of imagery and sounds presented on 3 laptops
• The vessels on which the laptops are placed are individual furniture items and again the audience is invited to choose which vessel they wish to interact with.
• moving only back and forth through the imagery and sound the audience are absorbed in the decision making presented in this visual labyrinth.
• the furniture resembles a domestic setting and are recognisable items, illustrating the everyday gestures performed.
• the emotionless movements of the heterosexual couple are at points humorous and in others rather dark.
• the actors were not asked to demonstrate emotion in the gesture making and therefore these perceptions of emotion are developed through the recognition, use of sound, use of colour and imagery.
• the breaks in footage allow the audience to rest with the piece
• in comparison at other points the selected scene fills with a combination of scenes and overcrowds the screen.
• the scenes repeat allowing the audience to sit and watch the piece and selections they have chosen.
• the use of colour is taken from the text and reflects certain colour themes
• soundtrack is developed from ideas within the text and uses the same instruments to illustrate the change in emotion through different musical techniques and sounds.

Mock Artist Statement

Claire Swift

Garden of Forking Paths

'In all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of the almost inextricable Ts'ui Pen, he chooses - simultaneously all of them. He creates, in this way, diverse futures, diverse times which themselves also proliferate and fork.' Jorge Luis Borges

The Garden of Forking Paths is a short story by writer and poet Jorge Luis Borges, created using several layers the story can be read in various ways creating not only a book but a maze. Using themes from this hypertext this video installation invites its audience to interact through the process of selection using the three laptops presented. Selecting not only visual image but sound, the audience are able to construct a narrative projected using numerous layers. Using the text the artist selected imagery embedded within the text and created visual patterns that the participant can decide and choose from. The work is a combination of three selections, still image, a moving couple on coloured backgrounds and soundtrack creating a visual representation of the story and ideas of Borges.

The gestures recreated using a stereotypical heterosexual couple, are taken from scenes within the text, ask to perform without expression the couple demonstrate recognisable gestures that allow the audience to develop an idea of narrative on screen and create their own story through their process of selection. This idea of narrative is also developed through the process of image and soundtrack selection, both of which use the same technique of deconstructing elements of the text and transferring these ideas into still image or music.

Written under the facade of a spy narrative the Garden of Forking Paths has a large similarity to today's digital media and hypertext projects such as Wikipedia in which its user is able to move through and select. Highlighting it's digital connection GFP uses laptops to show the choice of selection and allow the participant to make their own personal selection. Borges writes of "a labyrinth that folds back upon itself in infinite regression" and asks the reader to "become aware of all the possible choices we might make" these ideas are reflected in the video installation. The audience can discover all of the possible sound and visual elements they are able to choose from, however they are not trapped in the dilemma of choosing one and eliminating others; they may choose to unfold all possibilities as through the process of selection all elements are made available, filling the space with confusion. They "create, in this way, diverse futures, diverse times which themselves also proliferate and fork."

Green Screening NOTES

Eddie Chambers Tutorial

Complex nuances
layered
sophisticated work
Video, Image, Soundtrack

Challenges: How to represent text, Depth of text, Unless substantial steers, Chance % won't be abel to get nuances

Audio Component?

Highlighting words, insight

Stages: read, extract, share

Communicated Dialogue

emotionally challenging
gestures, subtle, pronounced, affections, confrontations,

Dialogue
introduced into text

Highlighted pages

Responsibility: to consider source of the work, extract most possible information, ideas from work.

IMAGES: intriging, instinct, viewer, to try and make sense what am I looking at?
potential to alienate: limit ways the work is read, "make sense"

metaphor

IMAGE IS TEXT

mindfull specifies audience, context

Accomplished work: very superficial, visual age, uses the medium of technology - UNSETTLING (difficult, engaging, challenging)

WHAT A LOVELY MAN x

Clio Tutorial July

Douglas Gordon: dynamic of screen
James Turrell

understand colour
thinking of selection
colour:emotion
image: interlect
different elements

stills --> movement
stiff ---> pleasure of movement

gret: no connections
remove people:ODD
glitches allow to rest with image

one instance: group

search engine: generic
significant
social experience
streamlining
experience

particular place
text story ----> search

labryinth: lines of sight
something impeeds
choices
darkness
projection immediate

Change laptop supports: reinforce intution, characters, added element eg desk, shalf, vanity mirror

mirrors - reflections, projections into

choosing everything together: overwhelming

what happens does consider trial

PARTICIPANT

exlpore clarity, ONE CONCEPT
complex set of media
Character of choice
crescendo


THE PROCESS IS THE LABRYINTH

Clio Tutorial (very very late)

Robert Wilson: Performances USA & theatre, endurance

Peter Greenway: minimal, duration, public

Discovery, further, hidden

Ola Furt Elissaon: experience driven, feel emotion, event, parallel facebook

making art as an experience

ephemeral

document

Bruce Nauman: installations, Hayward Show, head piece, not polished, interactive, removed from texture, voice, noise

SOUND texture in the piece, reflection, originates

Manufactures situation

UNFOLD

making the audience move, different spaces?

groups (herd)

Elison: controls behaviour crowds

Tate Turbine Hall: crowd filming

real applied

scale of images

Pulp Fiction/Kill Bill

knitting it together

objects become set

articulates

uncovered parts

coherence of your thinking

what I LIKE

mind mapping

central activity core

series of works?

Richard Wilson

what are my structures

exploration

x

Number References

2 pages

6 o'clock sun

9

30

3 rd chapter

4 th

2 circumstances

13 years

1000

1 nights

2 versions same epic chapter

Sound Ideas & GFpaths Notes

Play through Phonograph...?

torrential rains

hung up reciever

discovert

bullet shattered

human voice was very weak

'I must flee'

perfection of silence

shattered trembling

high pitched almost syllabic music

music came from the pavillion

music was Chinese

buzzer

clapped my hands

sparkling music continued

chaotic manuscripts

contradictory drafts

two versions of the same epic chapter

chaos

NOTES FOR MUSIC DEVELOPMENT....

perhaps create 13 tracks (13 years referenced in book)

merge all tracks together

choice, played through phonograph

name tracks referring to book

small thought. very small.

development of imagery is happening.

this week collecting images and editing.

next week, working. continuing research.

week after hopefully filming.

the master is going to RIP this to SHREDS. K.O.

Notes Garden Forking Paths (Imagery Collection Process)

p44

torrential rains

unsuspected light

The first two pages of the document are missing

I hung up the receiver

apartment

arrested or murdered

sunset

the discovery, capture, maybe even the death

locked the door

p45

iron cot

window

familiar roofs

cloud-shaded six 0'clock sun

garden

countless men in the air

earth and the sea

horselike face

now that my throat yearns for the noose

doubtless happy warrior

British artillery park

River Ancre

bird streaked

grey sky

aeroplane

French sky

artillery station

bombs

bullet shattered

My human voice was very weak

ear of the chief

newspapers

I said out loud : I must flee

perfection of silence

vain ostentation

pockets

American watch

nickel chain

square coin

key ring

notebook

apartment

letter

crown

two shillings

few pence

blue pencil

handkerchief

revolver

one bullet

p46

train ride away

spy

Goethe

ancestors who merge within me

yellow man

armies

hands

voice

mirror

downstairs

peaceful street

cab

deserted street

village of Ashgrove

ticket

distant station

nine-thirty

platform

coaches

farmers

woman dressed in mourning, a young boy who was reading with fervour the Annals of Tacitus, a wounded and happy solider

Shattered, trembling

window

p47

duel had already begun

forty minutes

train schedule

jail

dead

cowardly happiness

warriors

brigands

I give them this counsel: The author of an atrocious undertaking out to image that he has already accomplished it,ought to impose upon himself a future as irrevocable as the past.

Thus I proceeded as my eyes of a man already dead

diffusion of the night

middle of fields

Ashgrove

A lamp

Dr Stephen Albert's house

crossroads

left

coin

few stone steps

solitary road

downhill

earth

branches

full moon

The instructions to turn always to the left reminded me that such was a common procedure for discovering the central point of certain labyrinths. I have some understanding of labyrinths : not for nothing am I the great grandson of that Ts'ui Pen who was governor of Yunnan (p48) and who renounced worldly power in order to write a novel that might even more populous than the Hung Lu Meng and the construct

a labyrinth in which all men would become lost.

p48

heterogeneous tasks

lost maze

crest of a mountain

rice fields

water

octagonal kiosks

returning paths

rivers

provinces

kingdoms

I thought of a labyrinth of labyrinths, of one sinuous spreading labyrinth that would encompass the past and the future and in some way involve the stars.

illusory images

world

countryside

moon

slope of the road

A high-pitched, almost syllabic music

shifting in the wind

leaves

fireflies

words

gardens

streams of water

sunsets

rusty gate

iron bars

music came from the pavilion

music was Chinese

bell or a

buzzer

clapped my hands

The sparkling music continued

lantern approached

trees

paper lantern

drum

colour of the moon

light blinded me

door

p49

You do not wish to see the garden?

The garden?

The garden of forking paths.

damp path zigzagged

library

bound in yellow silk

phonograph

bronze phoenix

famille rose vase

shade of blue

craftsmen

potter of Persia

smile

grey eyes

grey beard

priest

sailor

missionary

Sinologist

window

tall circular clock

an hour

astronomy

books

chess player

calligrapher

poet

compose a book and a maze

banquets

thirteen years

died

chaotic manuscripts

fire

Taoist or Buddhist monk

p50

monk

senseless

contradictory drafts

I examined it once : in the third chapter the hero dies, in the fourth he is alive. As for the other undertaking of Ts'ui Pen, his labyrinth . . . '

tall lacquered desk

'An ivory labyrinth ! ' I exclaimed. ' A tiny labyrinth'

'A labyrinth of symbols,' he corrected. 'An invisible labyrinth of time......'

hundred years

Ts'ui must have said once : I am withdrawing to write a book. And another time : I am withdrawing to construct a labyrinth. Every one imagined two works; to no one did it occur that the book and the maze were one and the same thing.

physical labyrinth

the maze

Two circumstances gave me the solution to the problem. One : the curious legend that Ts'ui Pen had planned to create a labyrinth which would be strictly infinite .The other : a fragment of a letter I discovered.

Albert rose

black and gold desk

crimson

pink

minute brush by a man of my blood.

I leaven to the various futures (not to all) my garden of forking paths.

p50-51

'Before unearthing this letter, I had questioned myself about the ways in which a book can be infinite. I could think of nothing other than a cyclical volume, a circular one. A book whose last page was identical with the first, a book which had the possibility of continuing indefinitely....'

p51

story of the Thousand and One Nights

night

contradictory chapters

manuscript

In all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of the almost inextricable Ts'ui Pen, he chooses - simultaneously all of them. He creates, in this way, diverse futures, diverse times which themselves also proliferate and fork.

door

all possible outcomes occur ; each one is the point of departure for other forkings.

Sometimes, the paths of this labyrinth converge : for example, you arrive at this house, but in one of the possible pasts you are my enemy, in another , my friend.

p52

vivid circle

lamplight

immortal

two versions of the same epic chapter

army marches

desolate mountain

horror of the rocks

shadows

great festival

battle

blood

remote empire

Western isle

violent their swords

dark body

invisible, intangible swarming

manner prefigured

thirteen years

problem of time

He does not use the word that signifies time . How do you explain this voluntary omission?

p53

I proposed several solutions - all inadequate

answer is chess

'The word chess'

'The Garden of Forking Paths is an enormous riddle, or parable, whose theme is time; this recondite to inept metaphors and obvious periphrases, is perhaps the most emphatic way of stressing it.....'

hundreds

chaos

"time"

The explanation is obvious : The Garden of Forking Paths is an incomplete, but not false, image of the universe as Ts'ui Pen conceived it.

infinite series of time, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked and broke off, or were unaware of one another for centuries, embraces all possibilities of time.

I am a mistake, a ghost

Time forks perpetually towards innumerable futures. In one of them I am your enemy.

p54

swarming sensation

humid garden

house

invisible persons

raised my eyes

nightmare

yellow and black garden

statue

'The future already exists,' I replied, 'but I am your friend. Could I see the letter again?'

rose

standing tall

opened drawer of tall desk

back to me

revolver

lightening stroke

gallows

Berlin

England

mystery

Garden of Forking Paths

Now to start reading through the text picking imagery to manipulate.

LONG PROCESS.

At least this isn't a full novel!

However I feel I may need to add other essays.....

OH DEAR x

Der Mude Tod, Fritz Lang

amazing editing, double imagery, ghostly appearance.

Use of expression.

Soundtrack!

Garden of Forking Paths

Found this little sum up of story on Youtube x

Narrative Structures

Wikipedia (Alfred Hitchcock & Narrative Structure)

In the films of Alfred Hitchcock, architecture plays an important role. Having worked as a set designer in the early 1920s, Hitchcock remained intensely concerned with the art direction of his films. In addition, the ’master of suspense’ made some remarkable single-set films, such as Rope and Rear Window, that explicitly deal with the way the confines of the set relate to those of the architecture on screen. Spaces of confinement also turn up in the ’Gothic plot’ of films in which the house is presented as an uncanny labyrinth and a trap. Furthermore, it became a Hitchcock hallmark to use famous monuments as the location for a climactic scene. Last but not least, Hitchcock used architectural motifs such as stairs and windows, which are closely connected to Hitchcockian narrative structures (suspense) or typical Hitchcock themes (voyeurism). Apart from dealing with these issues extensively, Steven Jacobs discusses at length a series of domestic buildings with the help of a number of reconstructed floor plans especially made for this publication.

Narrative structure is generally described as the structural framework that underlies the order and manner in which a narrative is presented to a reader, listener, or viewer.

Generally, the narrative structure of any work (be it film, play, or novel) can be divided into three sections, which is referred to as the three-act structure: setup, conflict, resolution. The setup (act one) is where all of the main characters and their basic situation are introduced, and contains the primary level of characterization (exploring the character's backgrounds and personalities). A problem is also introduced, which is what drives the story forward.

The second act, the conflict, is the bulk of the story, and begins when the inciting incident (or catalyst) sets things into motion. This is the part of the story where the character's go through major changes in their lives as a result of what is happening; this can be referred to as the character arc, or character development.

The third act, or resolution, is when the problem in the story boils over, forcing the characters to confront it, allowing all elements of the story to come together and inevitably leading to the ending.

An example is the 1973 film The Exorcist: The first act of the film is when the main characters are introduced and their lives are explored: Father Karras (Jason Miller) is introduced as a Catholic priest who is losing his faith. In act two, a girl named Regan (Linda Blair) becomes possessed by a demonic entity (the problem), and Karras' character arc is being forced to accept that there is no rational or scientific explanation for the phenomenon except that she actually is possessed by a demon, which ties in directly with the theme of him losing his faith. The third act of the film is the actual exorcism, which is what the entire story has been leading to.

Theorists describing a text's narrative structure might refer to structural elements such as an introduction, in which the story's founding characters and circumstances are described; a chorus, which uses the voice of an onlooker to describe the events or indicate the proper emotional response to be happy or sad to what has just happened; or a coda, which falls at the end of a narrative and makes concluding remarks. First described in ancient times by Indian philosophers^[1] and Greek philosophers (such asAristotle and Plato), the notion of narrative structure saw renewed popularity as a critical concept in the mid- to late-twentieth century, when structuralist literary theorists including Roland Barthes, Vladimir Propp, Joseph Campbell and Northrop Frye attempted to argue that all human narratives have certain universal, deep structural elements in common. This argument fell out of fashion when advocates of poststructuralism such as Michel Foucault and Jacques Derrida asserted that such universally shared deep structures were logically impossible.

Northrop Frye in his Anatomy of Criticism deals extensively with what he calls myths of Spring, Summer, Fall, and Winter.

• Spring myths are comedies, i.e., stories that lead from bad situations to happy endings. Shakespeare's Twelfth Night is such a story.
• Summer myths are similarly utopian fantasies such as Dante's Paradiso.
• Fall myths are tragedies that lead from ideal situations to disaster. Compare Hamlet, Othello, and King Lear and the movie Legends of the Fall.
• And finally Winter myths are dystopias, for example George Orwell's 1984 or Aldous Huxley's Brave New World or Ayn Rand's novella Anthem .

[edit]Linear and non-linear narrative structures

A non-linear narrative is one that does not proceed in a straight-line, step-by-step fashion, such as where an author creates a story's ending before the middle is finished. Linear is the opposite, when narrative runs smoothly in a straight line, when it is not broken up.

An example of a non-linear narrative is the 1994 film Pulp Fiction. The film is ostensibly three short stories, which upon closer glance are actually three sections of one story with the chronology broken up.

Quick Thoughts....

Creating a visual labyrinth using film footage (example Rear Window) but creating a maze of imagery that the viewers are able to change and manipulate, the work is familiar yet curious, you are submerged in your own choices.

Re film scenes from movies (eg Rear Window) stripping down the aesthetics, keeping perhaps the voices, but the audience are able to change the background (eg Tralfamadore) creating their own film.

All the scenes relate to one another, in a continuous maze of imagery.

Boxed room, multiple projections, experience inside the projections

Set up like Eno, desks with choices then viewed in a cinematic experience.

Manipulating imagery....

Why...visual labyrinth, participation of the audience, their own creation, Forking Paths.

Borges

"a labyrinth that folds back upon itself in infinite regression",

asking the reader to

"become aware of all the possible choices we might make."

The elaborate hypertext is much like the book which Borges suggests to be the labyrinth,

("Every one imagined two works; to no one did it occur that the book and the maze were one and the same thing...the confusion of the novel suggested to me that it was the maze")

Olafur Elissaon: The Weather Project

The subject of the weather has long shaped the content of everyday conversation. The eighteenth-century writer Samuel Johnson famously remarked ‘It is commonly observed, that when two Englishmen meet, their first talk is of the weather; they are in haste to tell each other, what each must already know, that it is hot or cold, bright or cloudy, windy or calm.’ InThe Weather Project, the fourth in the annual Unilever Series of commissions for the Turbine Hall, Olafur Eliasson takes this ubiquitous subject as the basis for exploring ideas about experience, mediation and representation.

In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.

The weather

Eliasson views the weather – wind, rain, sun – as one of the few fundamental encounters with nature that can still be experienced in the city. He is also interested in how the weather shapes a city and, in turn, how the city itself becomes a filter through which to experience the weather. ‘Every city mediates its own weather’, Eliasson has said. ‘As inhabitants, we have grown accustomed to the weather as mediated by the city. This takes place in numerous ways, on various collective levels ranging from hyper-mediated (or representational) experiences, such as the television weather forecast, to more direct and tangible experiences, like simply getting wet while walking down the street on a rainy day. A level between the two extremes would be sitting inside, looking out of a window onto a sunny or rainy street. The window, as the boundary of one’s tactile engagement with the outside, mediates one’s experience of the exterior weather accordingly.’ In The Weather Project, Eliasson has sought to bring a part of London into the building, and through the experience and memory of the work, a part of it is taken back out into the city by the viewer.

Experiencing the work

This project is linked to Eliasson’s fascination with the way museums mediate the reception of art. In a museum, visitors are offered an array of information before they even see a work of art – from the marketing poster and press reviews to the interpretation text panel on the walls of the gallery. Eliasson recognises that this information influences the experience and understanding of the work. In this project he decided to direct these less overt aspects of making an exhibition, so that the experience of the work would be left as unscathed as possible for the viewer. He conducted a survey of staff at the museum, posing a series of questions ranging from the everyday to the abstract (‘How often do you discuss the weather?’, ‘Do you think the idea of the weather in our society is based on nature or culture?’). The statistical data gathered from this study was then used in the promotional campaign for the exhibition. Instead of photographs of the work, simple statements about the weather can be seen on advertisements in magazines, taxis or on the internet. Eliasson carefully chose information which would not prejudice or influence the visitor’s expectation of the work of art: ‘I think there is often a discrepancy between the experience of seeing and the knowledge or expectation of what we are seeing’.

The way in which Eliasson’s works harness the precarious and fleeting aspects of the natural world might initially evoke the spiritual and emotional attachment to nature found in the Romantic tradition. Yet the transcendent experience at the core of this tradition is disrupted in Eliasson’s work by exposing the structure and apparatus delivering the installation: ‘The benefit in disclosing the means with which I am working is that it enables the viewer to understand the experience itself as a construction and so, to a higher extent, allow them to question and evaluate the impact this experience has on them.’ For this reason, as well as Eliasson’s subversive engagement with the construct of the museum, in The Weather Project there is the opportunity to walk behind ‘sun’ to see the sub-structure and electrical wiring, as well as the machines distributing the fine mist.

Eliasson’s impressive installation draws attention to the fundamental act of perceiving the world around us. But, like the weather, our perceptions are in a continual state of flux. The dynamic variations in the composition of the ephemeral elements of The Weather Project parallel the unpredictability of the weather outside, which despite the efforts and sabotage of humankind still remains beyond our control.

Brian Eno: 77 Million Paintings

Baltic Gateshead, visited the work a numerous amount of times, January 2007

Constellations, 77 million paintings

Eno’s latest work, The Constellations (77 Million Paintings) creates “visual music” using screens showing constantly evolving paintings. The 77 million paintings are generated from handmade slides, randomly combined by a computer using specially developed software. A soundtrack of interwoven sound accompanies the work.

The random nature of The Constellations allows each visitor a unique experience.

The Garden of Forking Paths

Garden of Forking Paths

Wikipedia says.....

'According to Noah Wardrip-Fruin and Nick Montfort, "The concept Borges described in 'The Garden of Forking Paths'—in several layers of the story, but most directly in the combination book and maze of Ts'ui Pên—is that of a novel that can be read in multiple ways, ahypertext novel. Borges described this in 1941, prior to the invention (or at least the public disclosure) of the electromagnetic digital computer. Not only did he arguably invent the hypertext novel—Borges went on to describe a theory of the universe based upon the structure of such a novel."^[1] Borges's vision of "forking paths" has been cited as inspiration by numerous new media scholars, in particular within the field of hypertext fiction.^[2][3]'

Hypertext Novel

A Labyrinth

Wikipedia says....

'In Greek mythology, the Labyrinth (Greek λαβύρινθος labyrinthos) was an elaborate structure designed and built by the legendary artificer Daedalusfor King Minos of Crete at Knossos. Its function was to hold the Minotaur, a mythical creature that was half man and half bull and was eventually killed by the Athenian hero Theseus. Daedalus had made the Labyrinth so cunningly that he himself could barely escape it after he built it.^[1] Theseus was aided by Ariadne, who provided him with a skein of thread, literally the "clew", or "clue", so he could find his way out again.

In colloquial English, labyrinth is generally synonymous with maze, but many contemporary scholars observe a distinction between the two: mazerefers to a complex branching (multicursal) puzzle with choices of path and direction; while a single-path (unicursal) labyrinth has only a single, non-branching path, which leads to the center. A labyrinth in this sense has an unambiguous route to the center and back and is not designed to be difficult to navigate.^[2]'

Garden of Forking Paths (again)....

Beyond its facade as a spy narrative, "The Garden of Forking Paths" has similarities to today's digital media and hypertext projects, including perhaps Wikipedia. Borges conceives of "a labyrinth that folds back upon itself in infinite regression", asking the reader to "become aware of all the possible choices we might make."^[4] The elaborate hypertext is much like the book which Borges suggests to be the labyrinth, ("Every one imagined two works; to no one did it occur that the book and the maze were one and the same thing...the confusion of the novel suggested to me that it was the maze"^[1]) in a sense of how the site offers different approaches to how you may interpret the information provided, yet you're not trapped in the dilemma of choosing one and eliminating others; you may choose to unfold all possibilities. You "create, in this way, diverse futures, diverse times which themselves also proliferate and fork" (Wardrip-Fruin, 33). Although the story appeared before the advent of modern computers, Borges seems to have invented the hypertext narrative structure. Wardrip-Fruin and Montfort write: "Our use of computers is ... based on the visions of those who like Borges—pronouncing [The Garden of Forking Paths] from the growing dark of his blindness—saw those courses that future artists, scientists and hackers might take."^[1]

^{My quick thoughts}

create a labyrinth of visual imagery, completely lost in

Brian Eno, 10000000000000000 images

constantly trapped in visual labyrinth

images are connected but unsure how

readers possible choices, viewers possible choices

maze in the visual

You "create, in this way, diverse futures, diverse times which themselves also proliferate and fork"