The original title was to read, “Metamorphiction and identifying my reservations with new media” but that was gargantuan and it’s 4am. Not to mention that i had reservations concerning the subject heading itself and whether or not “new media” was an appropriate description. Is it hypertext? Is it cybertext? Will I get a brain tumor thinking about it? Will I later find myself reveling in the fact that I have a brain tumor and find myself calling it pet names? These are all serious things to consider when dealing with blerphhht.

<p>But seriously, i am interested in all this jarble but have sometimes have a hard time wrapping my head around it.  Mostly because i took a hypertext short term class with <a href="http://www.bates.edu/~dkolb">David Kolb</a>, where he would lecture us on rhizomal structure, non-linearity vs. multi-linearity, the effects of authorial control, etc&#8230;and then every once in a while throw in something about truisms, virtual/reality, and spaces vs. places.  I got caught up on one of the major considerations (i think anyway) of when is a reading finished in a reader/writer/reader interactive affair and never (or haven&#8217;t yet&#8230;) finished my project.  Ultimately the reader make the final decision of when to stop but when they do, will they have a sense of completeness&#8230;which leaves the author to decide how much control (via link:node mass ratio) do they want to implement.</p>

<p>Anyway, this whole thing was to provide the link to Jeff Noon&#8217;s work <a href="http://www.cobralingus.com"> &#8220;Cobralingus&#8221;</a> as well as a dialogue betweek Mark Amerika and Jeff Noon on what they somtimes call <a href="http://rhizome.org/object.rhiz?2426">Dub Fiction.  Inspired by dub reggae, well&#8230;i think it speaks better for itself.  </p>

<p><blockquote>Cobralingus is a literary revolution. It explores new ways of creating stories, using only imaginary technologies and the strangely twisted pathways inside Jeff Noon&#8217;s head. </p>

<p>Jeff Noon transforms techniques from dance music into a whole new approach to the production of words. He begins with his own fiction, or pieces &#8216;sampled&#8217; from Shakespeare, Thomas De Quincy or Zane Grey. These are playfully &#8216;remixed&#8217; by the Cobralingus Engine, producing fiction, poems, songs and visually stunning text. </blockquote></p>