but a link, when clicked, will always lead to the same node. A chat bot such as ELIZA is a cybertext because when the reader types in a sentence, the text-machine actually performs calculations on the fly that generate a textual response. The I Ching is likewise cited as an example of cybertext because it contains the rules for its own reading. The reader carries out the calculation but the rules are clearly embedded in the text itself. It has been argued that these distinctions are not entirely clear and scholars still debate the fine points of the definitions. Under the definition above, Finnegans Wake, The Phenomenology of Spirit, and Being and Nothingness are considered ergodic literature as they require active engagement in the form of taking notes, using reference manuals by the reader/user in the readings/comprehension of the text. The concepts of cybertext and ergodic literature were of seminal importance to new media studies, in particular literary approaches to digital texts and to game studies. Examples Examples given by Aarseth include a diverse group of texts: wall inscriptions of the temples in ancient Egypt that are connected two-dimensionally (on one wall) or three dimensionally (from wall to wall or room to room); the I Ching; Apollinaire's Calligrammes in which the words of the poem "are spread out in several directions to form a picture on the page, with no clear sequence in which to be read"; Marc Saporta's Composition No. 1, Roman, a novel with shuffleable pages; Raymond Queneau's One Hundred Thousand Billion Poems; B. S. Johnson's The Unfortunates; Arno Schmidt's Bottom's Dream; Milorad Pavić's Dictionary of the Khazars and Landscape Painted with Tea; Vladimir Nabokov's Pale Fire; Joseph Weizenbaum's ELIZA; William Chamberlain and Thomas Etter's Racter; Michael Joyce's Afternoon: a story; Roy Trubshaw and Richard Bartle's Multi-User Dungeon (aka MUD1); and James Aspnes's TinyMUD. Some other contemporary examples of this type of literature are Nick Bantock's The Griffin and Sabine Trilogy, S. by J. J. Abrams and Doug Dorst, House of Leaves by Mark Z. Danielewski, Z213: Exit by Dimitris Lyacos, Osman Lins's Avalovara, Julio Cortazar's Rayuela. All these examples require non-trivial effort from the reader, who must participate actively in the construction of the text. See also Cybertext Digital poetry Electronic literature Fighting Fantasy Interactive fiction References Information science Reading (process) Electronic literature Literary genres