games with each other.[16] These experiments were not carried any further, because the two antagonistic concepts—the traditional forms of representation and the concept of interaction—existed in them unexamined side by side. The structure of works for interactive cinema, theater and television in both the 1960s–1970s and the 1990s were not designed in such a way that they could be successful at making a critical break with the stage as model of representation merely through the intervention of the audience.

Shared authorship, collective narrative forms

What finally managed to accomplish this goal was the strategy of collective narrative forms, in use since the mid-1980s in telecommunications technologies and the computer as a way of destroying the principle of unique authorship. Roy Ascott was one of the first to initiate a project with shared authorship, with his «La plissure du texte» in 1983. He refers to it as a «collaborative story telling project,» in which artists from Europe, North America and Australia supplied texts that flowed together in the ARTEX computer network.[17] The structure of Andrea Zapp's online

project «Little Sister» (2000), which she refers to as a «CCTV Drama» or «24 Hrs online Surveillance Soap» is designed in a similar manner. Narrative fragments are borrowed here from the stereotypes of soap opera. With this reference to coherent self-contained identity blueprints, Ascott as well as Zapp pit well-established types of storytelling, which are often ossified in their uniformity, against forms of non-linear narrative. In non-linear narratives featured in web-based works, fluid personality models take the place of coherent identity concepts. These personalities are founded upon a blueprint of identity which assumes the dissolution of the subject's boundaries as a given. While in Joyce this blurring of subjective limitations was primarily a matter of uniting areas of experience that were in actuality separate, accomplished by expanding the present space of experience with the help of the imagination and consciousness to make it into more of an intermediate or transitional space, Lynn Hershman succeeds in her site-specific works, performances, interactive installations and web projects to almost wholly dissolve the boundaries of the subject. Her protagonists do not only have