W: We were writing a hypertext together, and I thought that was, really|
D: Maybe thats what we should be talking about.
W: Not only writing something together, but writing a hypertext together. These are two, um, kind of new ideas, that I dont know of, that there being a lot of discourse surrounding, at least not discourse Ive read
S: I thinkIts actually been like thoroughly theorized. Its one of those things where its almost been theorized outpacing the
S: Yeah. Hypertext is almost an example of criticism preceding the publication of the works which the criticism describes. In an interesting way, because there hasnt really beenI mean I guess Michael Joyce does some interesting things, uh, who else? Mark Amerika did a big hypertext project. Didnt really, ah, turn me on, but . . . but I mean there needs to be new hypertext, if the thing is gonna be real . . . it does raise some interesting textual/consciousness issues.
W: Maybe we should do some hypertext criticism of our current . . . hyper . . . text, um
S: I suppose that would be sort of a mini-preparation for the whole anthology project.
W: Yeah, and it would be
D: Already, I can tell you that our hypertext is critiquing regular hypertext. Becausedespite hypertexts pretensions towards liberating literature from linear time, and from authoritative foundationalism, in fact, every hypertext that I know of has only one author, anyway. Even though that author sets up multiple paths, it really comes down to a singular creator, seperate from the reader, blah blah blah. The same old Western bullshit.
W: Dont say bullshit. Thats bad.
S: No seriously. You cant saythaton the radio, right?
D: No you cant. No you cant.
W: Shit fuck piss cunt cocksucker motherfucker and tits. Thats not the exact list, but its pretty close.
S: Okay, well this is gonna get, I mean you have the technology to sample this thing, to take little bits
W: Technically, yeah. But
D: But that takes time
W: Will I bother? Ill probably choose a chunkIll probably keep it forever, first of all, and Ill also choose part to play on the radiomaybe none. I can see that ah
S: Although I do want you to run these promo slots
W: For the book that we . . . havent made yet?
S: For the book we havent made yetI think that thats part of the whole project. I mean, now, okay, I could be going out on a limb herehow do you feel about publicizing the project before it has an actuality?
[William gets the shits and giggles.]
D: I think that its perfectly in keeping with the whole spirit of the project. I mean, we were anticipating criticism before the literature. Why not anticipate publicity before the criticism?
S: I think that this is something that goes on in the world, maybe way too much, where something gets buzzed before it is an actual thing. But I think, in this case . . . its in the interests of Art. And the other thing which Art is importantand the other thing is, ah we do have this book, actually
S: We do have the actual anthology.
D: We do have the anthology.
S: We have all the texts for the anthology.
D: Thats true.
S: We spent some time today actually selecting many of the texts
D: That process has already begun.
S: Theres some refinements butits pretty much gonna go. The Unknown Anthology.
D: It will be completed before the publicity reaches the ears of the waiting public.