Introduction to Electronic Literature - User contributions [en]

Interactive

2018-01-15T23:15:04Z

Admin: Reverted edits by Monday12 (talk) to last revision by X7tu7ps^

After reading Hayles' introduction to electronic literature, I found myself comparing and contrasting the differences between traditional literature and electronic literature. Traditional literature has the typical plot where the reader follows, but with electronic literature, I find it most intriguing that the reader is able to create their own story within the author's story in interactive fiction. The author usually has the pen and is writing the story, but with electronic media, there gives more of a possibility for a plethora of different variations of stories for each character. Having a say in the storyline, "hypertext is synonymous with democracy and user [[empowerment]]" (Hayles). To have a voice brings more enjoyment to a reader overall, and it keeps [[engagement]] high as well as retainment. If a reader has a role in the story itself, they build a stronger connection that allows them to continue on. Interactive fiction allows the interactor to step into the character's shoes virtually instead of imagining in their minds, and that's what makes it so special and unique. It's an experience and connection that did not exist before with traditional literature, and now with this comes more creative outlets for literature. The evolution of interactive fiction continues as new technology is invented each day, and with [[new forms of literature]] comes a more integrated way of reading as society changes.

[[File:Typewriter.gif]]

"The alleged typewriter hipster later turned out to be a writer who earned his livelihood by selling custom-written stories from a bench in the park." - Cramer
(x7tu7ps^)

==See also==
[[Hypertext]]

[[Video Games]]

Conversation

2018-01-15T23:15:04Z

Admin: Reverted edits by Monday12 (talk) to last revision by Socalnewyorker

In his essay “Digital Poetry: A Look at Generative, Visual, and Interconnected Possibilities in its First Four Decades," Christopher Funkhouser argues that "Digital poetry is not a fixed object; its circuitry perpetuates a '''conversation'''." He goes on to explain that, "Poetry is a socially constructed art form, always situated within other texts (not limited only to poems) and extended by readers. [[Meaning]] and significance are not completely dependent on the verbal material itself; they are formed in the mind of the reader, who synthesizes various tiers of influence (inputs) and, potentially, extends them (outputs)." Still, Funkhouser's description begs the question: a conversation with whom? Funkhouser’s analysis supports the idea that poetry creates a [[personal subjective experience]]; electronic poetry is particularly so, with interactive components encouraging an intimate relationship between the reader and the content. With electronic literature so oriented around the individual reader, however, I wonder if there’s a point at which the art becomes too insular. Conversation and dialogue require outward engagement. Although Funkhouser contends that electronic poetry achieves collaboration by “building a widely conceived philosophy of text,” it’s unclear how this actually establishes an interaction with others, rather than creating a disjointed amalgamation of singular, detached viewpoints.

Representation is utterly important and the fact that digital poetry allows for greater representation is one of its strongest features, in my opinion. Still, representation is empowered by intercommunication when it comes to [[addressing]] social concerns. I loved the Young Hae Chang piece that was shown in class for this very reason. Because the kinetic form emphasized different perspectives and forced the audience to confront multiple viewpoints, it encouraged greater understanding and contemplation. Even though there is beauty in the responsive freedom that digital poetry affords the individual, it’s also interesting to consider how such a form might also have the capacity to initiate purposeful conversations amongst its greater audience.

[[File:phonemonkey.gif]]

不要挂断
don’t hang up dong tè han ge pu
冬
特酣
歌朴
Winter
almost intoxicated
sing out unadorned

- From Jonathan Stalling, Yingelishi:
Sinophonic English Poetry and
Poetics (Denver: Counterpath Press,
2011): 71; 73

(x7tu7ps^)

==See also==
*[[reception]]
*[[poetry]]

Analysis of Diana Hamilton's Dreams

2018-01-15T23:15:02Z

Admin: Reverted edits by Monday12 (talk) to last revision by Markjin

In Alejandro Miguel Justino Crawford's ''Diana Hamilton's Dreams'', Diana is trying to recall her dreams once she wakes up and within the first few minutes of the video I had noticed that the video seems to have a dark tone to it. Diana recalling her dreams wasn't just meaningless. She seems to be trying to sort out her everyday thoughts and [[feelings]] that are now becoming included in her dreams. She mentions in the video that she was traveling with her high school friends who she no longer talks to and says, "they had so much more stuff than me...they had big doll houses full of candy and liquor" (Crawford). I feel like she may not be happy with herself based on the fact that her dreams seem to be about issues concerning one's identity. It has been known for while that our worries often do tend to somehow be included in our dreams. And Diana seems to have worries about not fitting in; in other words, she feels lost like so many other young [[people]]. So when Diana records herself, it appears to be her own way of figuring out her true identity. We even see a shape of a nose in the video, so she is most likely seeing her reflection through the screen. As she sees her reflection, she may be trying to accept the person she is, which may be someone who doesn't have much or isn't anyone special in her opinion. However, we can conclude that she is having a difficult time finding herself because toward the end of the video she speaks about how she was trapped and about how she wasn't sure if it was a nightmare or not (Crawford). But this was heard in the beginning of the video as well, which means that what she said in the beginning is purposely being repeated in the end to indicate that she is still trapped in her own mind.

[[File:Alien.jpg]]

"I am tired of trying to be the person that society wants me to be".

==See also==
*[[New forms of literature]]
*[[development]]

Wreading E-Lit

2018-01-15T23:15:02Z

Admin: Reverted edits by Monday12 (talk) to last revision by X7tu7ps^

'''An Inventory of Approaches to Wreading E-Lit'''

Optionally compiled November 5th, 2017

SB_Sultan https://twitter.com/Metallicandies_

R.T. "Unfailed Gaiman Tales" Front page [http://newhive.com/rebeccatan/ufgt-front-page], story for January [http://newhive.com/rebeccatan/ufgt-january], story for February [http://newhive.com/rebeccatan/ufgt-february], story for March [http://newhive.com/rebeccatan/ufgt-march], story for April[http://newhive.com/rebeccatan/ufgt-april].

I.B. "Calling Card 3 and 4" https://www.instagram.com/callingcard3and4/

L.M. "Snap-a-Poem" [https://www.youtube.com/watch?v=E9KYQXmD2VI]

K.U. "The Garden of Forking Paths" https://www.instagram.com/pentsui/

T.C "Suicide Letter" [https://markjinstory.wixsite.com/suicideletter]

B.L. "beginning of the world" [http://philome.la/bellaleeeee/beginning-of-the-world/play]

B.K.S. "escape." [http://philome.la/brianna_kelly__/escape/play]

A.G. "100 Haikus: In Defense of the Poor Image" [https://thepoorimage.bandcamp.com/track/100-haikus-in-defense-of-the-poor-image]

R.S. "Study Bust Down The Doors!" [http://newhive.com/bleecka/studybustdownthedoors]

L.Y. "Out of the Woods" [http://newhive.com/elit/title?q=%40elit%20%23thewoodselit]

DK "Pet Simulatrix" [http://philome.la/dylankarlsson/pet-simulatrix/play]

S.G. "Lost In the Woods" [https://elit-wiki-post-game.neocities.org/Lost%20In%20the%20Woods.html]

S.K. "An Oratorical Rendition from the Library of Babel" [http://newhive.com/classified/an-oratorical-rendition-from-the-library-of-babel]

A.K. http://newhive.com/withthosewelovealive/with-those-we-love-alive-2-0

H.A. “Praise or Criticism?” [https://praiseorcriticism.tumblr.com]

M.S.L. "Queers in Love at the End of the Sidewalk" [https://www.scribd.com/document/363791506/Queers-in-Love-at-the-End-of-the-Sidewalk-Maya-Levy]

Media

2018-01-15T23:15:01Z

Admin: Reverted edits by Monday12 (talk) to last revision by 103101

Social media has developed so fast during the years, it is presenting the public nowadays with a whole new set of art forms that could never exist before. [[File:Horse-Ebooks.png|200px|thumb|right|feeds from popular twitter account "Horse-ebooks"]]After reading the article “Art After Social Media”, I have noticed a total cyber revolution that challenges our traditional definition of art. First of all, authorship, an almost inseparable element in the discussion of art-piece has gradually lost its significance with the huge stream of data online, anonymity or “nicknaming” seems to be the norm on internet. As a matter of fact, people are often encouraged to create a persona on social media as an expression of one’s inner self, sometimes authors incorporate the message of the art piece with the alias they’ve chosen, so that the “names” of authors are also part of the piece. So instead, on social media, the identity of authors became less important than the brand or the impact such artists have upon the others. Secondly, the format of social media allows for a greater creative space for artists. The logic behind social media presents a platform for randomness and mystery that captures the empheriality in human thoughts, which partially explains why something like the twitter account “Horse-ebooks” could have a follower of over 14.8K by generating millions of “incomprehensible” texts.

Pages

2018-01-15T23:15:00Z

Admin: Reverted edits by Monday12 (talk) to last revision by Jeffreyleaf

Welp

https://www.zazzle.com/custom_5_x_7_invite_horizontal-161690906368034670

[[File:welp.png|200px|thumb|right|alt text]]

Concept Twitter

2018-01-15T23:15:00Z

Admin: Reverted edits by Monday12 (talk) to last revision by Mikey

Language

2018-01-15T23:14:59Z

Admin: Reverted edits by Monday12 (talk) to last revision by Bliss

'''Języki Obce - Andrzej Bursa'''

Czy twój ojciec pali fajkę?

Tak mój ojciec pali fajkę

Yes, my father smokes the pipe

powtórz to zdanie

otworzy ci ono

o-

knonaświat

Gdy będziesz siedział na Broadwayu

w barze piękniejszym niż oczy szatana

spytają cię niezawodnie

czy twój ojciec pali fajkę

wtedy odpowiesz z uśmiechem

Yes, my father smokes the pipe

Widzisz

jak to będzie cudowne

'''Foreign Languages by Andrzej Bursa
'''

Does your father smoke pipe?

Yes my father smokes pipe

Yes, my father smokes pipe

repeat this sentence

it will open

u-

pyourworld

When you'll be sitting on Broadway

in a bar more beautiful than satan's eyes

they will inevitably ask you

does your father smoke pipe

answer then with a smile

Yes, my father smokes pipe

See

how wonderful it'll be

'''Yen-z'key Ohb-Sen by AH'n-Jay Burr-SA'''

Che t-void oy-che'its pa'lee five-ken?

tack mo'e oy-che'its pa'lee five-ken.

Yes, my father smoked the pipe

Poe-two'j toe-z'dine-aye.

Ought-foe-jay che own'oh.

oh-

cone-no-nah she'vat.

Get D Ben'z-sesh shed-jaw,

nah Broadway-you,

've bah-jet peein'k-nine-knee-sham,

niche oh-che shat-on-yeah,

Spit-ah-yeah che knee'eh-z'ah-void-knee'eh,

Che t-void oy-che'its pa'lee five-ken,

vet-teddy ode-poe-Vee'ish zen,

Osh-me-him,

Yes my father smokes the pipe.

Vee-Just,

Yak toe ben-gee sue-dove-net.

A terrible recording of me reciting the poem: https://clyp.it/3jzyefxd
-Bliss

3

2018-01-15T23:14:59Z

Admin: Reverted edits by Monday12 (talk) to last revision by Wifi password

[[File:fine.gif|300px|thumb|right|When you sit down and are ready to read some E-Lit!]]
3-|1t W1k1

What 1Z n0t 3|3ctr0n1c |1t3ratur3 t0day? Rath3r than 1ntr0duc3 3|3ctr0n1c |1t3ratur3 0r “3-|1t” aZ a d1Zt1nct |1t3rary cat3g0ry, 3|1T W1K1 w0nd3rZ 1f 1t’Z Zt1|| p0ZZ1b|3 t0 c0nZ1d3r |1t3ratur3 b3y0nd th3 3|3ctr0n1c c1rcu1tZ that charact3r1z3 th3 n3tw0rk3d pr3Z3nt. Th3 cr3at10n and Ztudy 0f |1t3ratur3 t0day 1Z fac1|1tat3d by a rang3 0f d1g1ta| f0rmatZ and n3tw0rk3d c0nZ0|3Z, 3ach 0f wh1ch 1ntr0duc3 n3w pract1c3Z 0f pr0duct10n, c1rcu|at10n, r3c3pt10n, and r3ad1ng. A|0ngZ1d3 th3Z3 tranZf0rmat10nZ, th1Z w1k1 3xp|0r3Z a rang3 0f n3w |1t3rary g3nr3Z 1nhab1t1ng, f0r 3xamp|3, c0mput3r Zcr1ptZ, 1mag3 macr0Z, f|aZh m0v13Z, Z0c1a| m3d1a, hyp3rt3xt bandcamp r3|3aZ3Z, 1nt3ract1v3 app|1cat10nZ, and pr1nt 0n d3mand Ana|yZ1Z 0f D1ana Ham1|t0n'Z Dr3am. Th1nk1ng thr0ugh th3 pr3Z3nt, 3|1T W1K1 3xam1n3Z th3 h1Zt0ry and futur3 0f |1t3ratur3 thr0ugh th3 3v3ryday 3xp3r13nc3 0f c0mput3rZ and 3|3ctr0n1c d3v1c3Z. Fr0m th3 h1Zt0ry 0f d1g1ta| p03t1cZ t0 r3c3nt 1nt3rn3t pub|1cat10nZ, w3 track th3 d3v3|0pm3nt 0f |1t3ratur3 und3r th3 1nf|u3nc3 0f c0mputat10n up t0 w0rkZ pub|1Zh3d 1n th3 pr3Z3nt, aZ th3y 3m3rg3 0n|1n3. 1n |0ckZt3p, th1Z w1k1 c0nZ1d3rZ th3 cat3g0ry 0f “3|3ctr0n1c |1t3ratur3” aZ a way t0 th1nk ab0ut h1Zt0r1ca| w0rkZ r3m3d1at3d t0 th3 1nt3rn3t, 1n a w1d3 rang3 0f (p0Zt-)d1g1ta| f0rmatZ. Th3 w1k1 f3atur3Z Zh0rt pag3Z 1n an 0p3n f0rmat, wh1ch may b3 cr1t1ca| 0r cr3at1v3 1n f0rm, d3v3|0p3d 1n c0nv3rZat10n w1th th3 3d1t0rZ. N0 pr3v10uZ 3xp3r13nc3 1n pr0gramm1ng, p03try, 0r |1t3ratur3 1Z r3qu1r3d t0 r3ad th3Z3 pag3Z.

Communicate our experiences

2018-01-15T23:14:57Z

Admin: Reverted edits by Monday12 (talk) to last revision by Bliss

Charles Bernstein

Class Profiler: Check Levels

This is a list of rhetorical features of individual classes. Pick one class and rate it for each of these characteristics. Rate the levels of these features on a one to ten scale with one the lowest level and ten the highest level. Be specific: give examples to support assessment. Compare two classes based on these features. Also: compare any group of classes based on their likeness/difference from one another. (NOTE: please provide additional parameters for the Profiler, which is in development.)

Name of Class: ENGL 116B - Introduction to Electronic Literature

Professor: D. Snelson

Today’s Date: 10/14/2017

Your name: AW

ratings 1 (low) to 10 (high)

Stylistic Textures and Poetic Diction

Coefficient of weirdness (wackiness quotient)___10

Ambiguity____9

Ambivolence____8

Irreverence____8

Sobriety____2

Humor____6

Eloquence____7

Plainness____1

Sincerity____4

Smoothness (vs roughness, bumpiness, striation)____3

Neat (vs messy)____1

Pretentiousness____2

Subtlety (vs bluntness)____3

Indirect (vs straightforward)____4

Intelligence____9

Visual imagery____7

Dreaminess____3

Particularity (vs generality) of details____3

Stylistic consistency____1

Innovation____8

Originality____10

Ornamental/decorative____2

Relevance____3

Tastefulness____4

Speech-like____1

Dialect___1

[[Sampling]] (use of found or quoted material)____10

Comprehensibility____5

Coherence____5

Spontaneity____8

Exploratory____10

Density____8

Predictability____1

Abstractness____8

Sensuousness____1

Weariness____1

Sophistication ____6

Timidity____1

Bravado____3

Courage___6

Unusual vocabulary____9

Complexity____9

Repetitiveness____2

Self-consciousness____7

Artifice (vs “natural”)____8

Difficulty____8

Modern/contemporary (vs old fashioned)____9

Transparency Ratio (outward vs inward pointing)____9

==See also==
*[[you]]
*[[poetry]]

©Charles Bernstein 2009; may be reproduced for noncommericial use only.

Room

2018-01-15T23:14:57Z

Admin: Reverted edits by Monday12 (talk) to last revision by Mysteryclock

In domestic architecture, a room that takes more doors to enter is often considered a room with increased privacy. A space is more private when it is deeper into the house, when entrances are sheltered from sight and difficult to find. Today’s visit to ''My Boyfriend Came Back From the War'' sort of made me feel like an invader in this home—perhaps I enter the front door at “Where are you? I can’t see you," living room at “you don’t trust me, i see," dining room at “I keep your old photo here," bedroom at “FORGIVE me"...

Some things this website makes me think about:
* houses
* weaving
* Luxottica
* website as rectangles
* bean leaf clock
* 24 hour clock
* burning
* crying
* teachers
* flip books
* getting a text from my dad

Just read a little more about Lialina. I like [http://profolia.org/mosaic1.jpg this picture] of her and the first ever cake she baked—I am trying to get more into baking cakes as well. Now I keep the tab to her website open, so the background music can keep playing… ♫

Bandcamp

2018-01-15T23:14:56Z

Admin: Reverted edits by Monday12 (talk) to last revision by Mysteryclock

Bandcamp is an online music platform co-founded by Ethan Diamond, Shawn Grunberger, Joe Holt, and Neal Tucker that caters directly towards fans of independent music. Its goal as a company is "to create the best possible service for artists and labels to share and earn money from their music, and for [[fans]] to discover and enjoy it" (bandcamp.com). By directly supporting artists, the skepticism of artist compensation when buying their songs is eliminated. There is a myriad of creators and projects to choose from when clicking over to the "discover" page on the website. Not only can one pick out a [[singular]] genre to focus on, but one could also distinguish between the format of the project: digital, [[vinyl record]], compact disc, and cassette. As antiquated as the non-digital options are, the physicality creates an intimacy that is sometimes lost when targeting specifically digital music. At the same time, the site is "one of the greatest underground-culture bazaars of our time" (thenewyorktimes.com). An overview of the community on Bandcamp reveals an endless ocean of unlimited creativity. Examples of the peculiar side of the platform are revealed on the [[YouTube]] channel "theneedledrop"'s series "IT CAME FROM BANDCAMP!," highlighting strange and interesting projects.

[[https://www.youtube.com/watch?v=aqA46RPQdZA&index=8&list=PLP4CSgl7K7opu4iUNivGAD1_hEMnR8cK4]]

==See also==
*[[Fun music]]
*[[I literally love singing]]

Meaning

2018-01-15T23:14:56Z

Admin: Reverted edits by Monday12 (talk) to last revision by Egk

[[File:Woman.png|200px|thumb|right|A woman contemplates the meaning of this wiki page]]
[[File:giphy.gif|200px|thumb|right|A man also contemplates the meaning of this wiki page]]

01010100 01101000 01100101 01110011 01100101 00100000 [[01101110]] 01110101 01101101 01100010 01100101 01110010 01110011 00100000 01101101 01100101 01100001 01101110 00100000 01100110 01100001 01110010 00100000 01101101 01101111 01110010 01100101 00100000 01110100 01101111 00100000 01100001 00100000 01100011 01101111 01101101 01110000 01110101 01110100 01100101 01110010 00100000 01110100 01101000 01100001 01101110 00100000 01110100 01101000 01100101 01111001 00100000 01100100 01101111 00100000 01110100 01101111 00100000 01111001 01101111 01110101 00101110 00100000 01010100 01101000 01101001 01110011 00100000 01101101 01100101 01110011 01110011 01100001 01100111 01100101 00100000 01100100 01101111 01100101 01110011 01101110 01110100 00100000 01101101 01100001 01101011 01100101 00100000 01101101 01110101 01100011 01101000 00100000 01110011 01100101 01101110 01110011 01100101 00100000 01100001 01101110 01111001 01101101 01101111 01110010 01100101 00101100 00100000 01110100 01101000 01101111 01110101 01100111 01101000 00101110 00100000 01011001 01101111 01110101 01110010 01100101 00100000 01110010 01100101 01100001 01100100 01101001 01101110 01100111 00100000 01101100 01100101 01110100 01110100 01100101 01110010 01110011 00100000 01101110 01101111 01110111 00101100 00100000 01101110 01101111 01110100 00100000 01101110 01110101 01101101 01100010 01100101 01110010 01110011 00101100 00100000 01100001 01101100 01101100 00100000 01110100 01101000 01100001 01101110 01101011 01110011 00100000 01110100 01101111 00100000 01110100 01101000 01100101 00100000 01110011 01101100 01100001 01110110 01100101 00100000 01101100 01100001 01100010 01101111 01110010 00100000 01101111 01100110 00100000 01110100 01101000 01100101 00100000 01101101 01100001 01100011 01101000 01101001 01101110 01100101 00100000 01110100 01101000 01100001 01110100 00100000 01111001 01101111 01110101 00100000 01110100 01110010 01110101 01110011 01110100 00100000 01110100 01101111 00100000 01100001 01100011 01100011 01110101 01110010 01100001 01110100 01100101 01101100 01111001 00100000 01110100 01110010 01100001 01101110 01110011 01101100 01100001 01110100 01100101 00100000 01110100 01101000 01101001 01110011 00100000 01101101 01100101 01110011 01110011 01100001 01100111 01100101 00101110 00100000 01010100 01101000 01100101 00100000 01100010 01110010 01101001 01101100 01101100 01101001 01100001 01101110 01110100 00100000 01001110 00101110 00100000 01001011 01100001 01110100 01101000 01100101 01110010 01101001 01101110 01100101 00100000 01001000 01100001 01111001 01101100 01100101 01110011 00100000 01110000 01101111 01101001 01100111 01101110 01100001 01101110 01110100 01101100 01111001 00100000 01110010 01100101 01101101 01100001 01110010 01101011 01110011 00100000 01110100 01101000 01100001 01110100 00100000 01100110 01101111 01110010 00100000 01101001 01101110 01110100 01100101 01101100 01101100 01101001 01100111 01100101 01101110 01110100 00100000 01101101 01100001 01100011 01101000 01101001 01101110 01100101 01110011 00101100 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01101000 01100001 01110011 00100000 01101110 01101111 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00101110 00100000 01001001 01100110 00100000 01110111 01100101 00100000 01100001 01110010 01100101 00100000 01110100 01101111 00100000 01100010 01100101 00100000 01100101 01111000 01101001 01110011 01110100 01100101 01101110 01110100 01101001 01100001 01101100 01101001 01110011 01110100 01110011 00100000 01100001 01100010 01101111 01110101 01110100 00100000 01110100 01101000 01101001 01110011 00101100 00100000 01110100 01101000 01100101 01101110 00100000 01001110 00101110 00100000 01001011 01100001 01110100 01101000 01100101 01110010 01101001 01101110 01100101 00100000 01001000 01100001 01111001 01101100 01100101 01110011 00100000 01101001 01110011 00100000 01110010 01101001 01100111 01101000 01110100 00101100 00100000 01100001 01110011 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01101001 01110011 00100000 01100110 01101001 01111000 01100101 01100100 00100000 01110101 01110000 01101111 01101110 00100000 01100001 01101110 00100000 01101001 01101110 01100100 01101001 01110110 01101001 01100100 01110101 01100001 01101100 00100000 01101000 01110101 01101101 01100001 01101110 00100000 01100001 01101110 01100100 00100000 01110100 01101000 01100101 01101001 01110010 00100000 01101001 01101110 01110100 01100101 01110010 01110000 01110010 01100101 01110100 01100001 01110100 01101001 01101111 01101110 00100000 01101111 01100110 00100000 01110100 01101000 01100101 00100000 01110111 01101111 01110010 01101100 01100100 00101110 00100000 01000011 01101111 01101101 01110000 01110101 01110100 01100101 01110010 01110011 00100000 01100011 01100101 01110010 01110100 01100001 01101001 01101110 01101100 01111001 00100000 01100100 01101111 01101110 00100111 01110100 00100000 01110011 01100101 01100001 01110010 01100011 01101000 00100000 01100110 01101111 01110010 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01110100 01101000 01100101 00100000 01110111 01100001 01111001 00100000 01100001 01101110 00100000 01100101 01100100 01100111 01111001 00100000 01100011 01101111 01101100 01101100 01100101 01100111 01100101 00100000 01110011 01110100 01110101 01100100 01100101 01101110 01110100 00100000 01100100 01101111 01100101 01110011 00100000 01110011 01101101 01101001 01110010 01101011 01101001 01101110 01100111 00100000 01110100 01101000 01110010 01101111 01110101 01100111 01101000 00100000 01100001 01101110 00100000 01101111 01101100 01100100 00100000 01001110 01101001 01100101 01110100 01111010 01110011 01100011 01101000 01100101 00100000 01110100 01100101 01111000 01110100 00101110 00100000 01010111 01101000 01100001 01110100 00100000 01101001 01110011 00100000 01110100 01101000 01100101 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01101111 01100110 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00111111 00100000 01010100 01101000 01100101 00100000 01001100 01101001 01100010 01110010 01100001 01110010 01111001 00100000 01101111 01100110 00100000 01000010 01100001 01100010 01100101 01101100 00100000 01100001 01101100 01110111 01100001 01111001 01110011 00100000 01101000 01100001 01110011 00100000 01110100 01101000 01100101 00100000 01100001 01101110 01110011 01110111 01100101 01110010 00101110 00100000 01010000 01100001 01100111 01100101 00100000 00110011 00111001 00110000 00100000 01101111 01100110 00100000 01110100 01101000 01100101 00100000 01100010 01101111 01101111 01101011 00100000 01111001 01100111 01110001 01111000 01100111 01101000 01101110 01110101 01100110 01110100 01110111 00100000 01101111 00100000 01101110 01100101 01100001 01110100 01101100 01111001 00100000 01100101 01111000 01110000 01101100 01100001 01101001 01101110 01110011 00111010 00100000 01110100 01101000 01100101 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01101111 01100110 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01101001 01110011 00100000 01110100 01100001 01101110 01110100 01100001 01101100 01101001 01110100 01100101 01110011 00101110 00100000 01010100 01101000 01101001 01110011 00100000 01101001 01110011 00100000 01110010 01100001 01110100 01101000 01100101 01110010 00100000 01110000 01101111 01100101 01110100 01101001 01100011 00101100 00100000 01100001 01110011 00100000 01110100 01100001 01101110 01110100 01100001 01101100 01101001 01110100 01100101 00100000 01100010 01110010 01101001 01101110 01100111 00100000 01100001 01100010 01101111 01110101 01110100 00100000 01110100 01101000 01100101 00100000 01100101 01111000 01101001 01110011 01110100 01100101 01101110 01100011 01100101 00100000 01101111 01100110 00100000 01110100 01101000 01100101 00100000 01110110 01100101 01110010 01111001 00100000 01101101 01100001 01100011 01101000 01101001 01101110 01100101 00100000 01101111 01101110 00100000 01110111 01101000 01101001 01100011 01101000 00100000 01111001 01101111 01110101 00100000 01100001 01110010 01100101 00100000 01110010 01100101 01100001 01100100 01101001 01101110 01100111 00100000 01110111 01101000 01100001 01110100 00100000 01110100 01101000 01100101 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01101111 01100110 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01101001 01110011 00101110 00100000 01010111 01101001 01110100 01101000 01101111 01110101 01110100 00100000 01110100 01101000 01100101 01110011 01100101 00100000 01110100 01100001 01101110 01110100 01100001 01101100 01101001 01110100 01100101 01110011 00101100 00100000 01110111 01101000 01101001 01100011 01101000 00100000 01100001 01110010 01100101 00100000 01110101 01110011 01100101 01100100 00100000 01110100 01101111 00100000 01101101 01100001 01101011 01100101 00100000 01100011 01100001 01110000 01100001 01100011 01101001 01110100 01101111 01110010 01110011 00101100 00100000 01110100 01101000 01101001 01110011 00100000 01110000 01100001 01100111 01100101 00100000 01110111 01101111 01110101 01101100 01100100 00100000 01101110 01101111 01110100 00100000 01100101 01111000 01101001 01110011 01110100 00101110 00100000 01001001 01100110 00100000 01101111 01101110 01100101 00100000 01101001 01110011 00100000 01110100 01101111 00100000 01110010 01100101 01100001 01100100 00100000 01100101 01101100 01100101 01100011 01110100 01110010 01101111 01101110 01101001 01100011 00100000 01101100 01101001 01110100 01100101 01110010 01100001 01110100 01110101 01110010 01100101 00101100 00100000 01110100 01101000 01100101 01101110 00100000 01101001 01110100 00100000 01101001 01110011 00100000 01100011 01110010 01110101 01100011 01101001 01100001 01101100 00100000 01110100 01101111 00100000 01110101 01101110 01100100 01100101 01110010 01110011 01110100 01100001 01101110 01100100 00100000 01110100 01101000 01100101 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01101111 01100110 00100000 01110100 01101000 01100101 00100000 01101101 01100101 01100100 01101001 01110101 01101101 00101100 00100000 01110111 01101000 01101001 01100011 01101000 00100000 01101001 01110011 00100000 01101001 01101110 01101000 01100101 01110010 01100101 01101110 01110100 01101100 01111001 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 01101100 01100101 01110011 01110011 00101110 00100000 01010100 01101000 01110101 01110011 00101100 00100000 01101001 01110100 00100000 01101001 01110011 00100000 01100001 01101100 01110111 01100001 01111001 01110011 00100000 01110111 01101001 01110100 01101000 00100000 01110100 01101000 01101001 01110011 00100000 01110100 01101000 01100101 01101101 01100101 00100000 01101111 01100110 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 01101100 01100101 01110011 01110011 00100000 01101101 01100101 01100001 01101110 01101001 01101110 01100111 00100000 01110100 01101000 01100001 01110100 00100000 01100101 01101100 01100101 01100011 01110100 01110010 01101111 01101110 01101001 01100011 00100000 01101100 01101001 01110100 01100101 01110010 01100001 01110100 01110101 01110010 01100101 00100000 01101101 01110101 01110011 [[01110100]] 00100000 01100010 01100101 00100000 01110010 01100101 01100001 01100100 00101110 0001010

==See Also==
*[[Creation]]
*[[Computation]]

Abstraction

2018-01-15T23:14:55Z

Admin: Reverted edits by Monday12 (talk) to last revision by Nervyns

.emit elttil os tub ,snoitseuq ynam oS ?ssorca steg tniop eht taht erus ekam ot tnatropmi erom ti si rO ?nwo ruo fo ycagel a evael ot ,tniop eht taht sI ?dnatsrednu enoemos lliw ,gninaem nwo ruo llitsni ot kool dna stxet retla ew nehW ?gninaem thgir a ereht sI .tuoba derednow syawla ev'I gnihtemos si hcihw ,elpoep tnereffid ot gninaem tnereffid sah ti ,sgniht lla ekil tuB .noisrev 7102 detadpu na etaerc ot yasse 'selyaH gniretla ekil ,raf os ssalc ni enod ev'ew sgniht ekil tol a sdnuos yletinifed tI .)nietsnreB( meop eht fo erutcurts lacisyhp eht ro sdrow wef a gniretla eb ti rehtehw ,etaerc sevlesmeht tneduts eht taht gninaem htrof gnirb "egaugnal gnivil eht fo ydob lautxet eht no detcudnoc smrof tnatum ni stnemirepxe" esehT .mlaer siht ni tsixe t'nseod ylerem ti taht kniht ot egnarts s'ti ,rewsna '''eht''' dnif ot gnitnaw syawla dna sessalc htam ynam os gnikat retfA .rewsna thgir a s'ereht ekil smees reven ti tub ,snaem ti tahw ot sa tsiwt nwo ruoy tup ot syaw dnif osla nac uoy dna gninaem llitsni ot syaw elpitlum era ereht taht gniees ,dnatsrednu ot erutaretil fo mrof drah a si yrteop ,em oT .gnidaerw eb dluow stneduts sih htiw seod eh ytivitca gnitseretni tsom eht taht kniht I ,esruoc sih ni stnemirepxe sih dna sthguoht s'nietsnreB gnidaer retfA .gnihtyreve dniheb sdohtem dna sgninaem ynam os htiw ,dleif tcartsba na yletulosba si erutaretil cinortcelE .meht esrap ot syaw fo edutitlum a dna smrof tnereffid ynam os htiw ,gnignellahc osla tub ,gnitanicsaf neeb s'tI .erom dna tuoba denrael ev'ew taht gnihtyreve detaluspacne erutaretil cinortcele taht aedi on dah I ,tsenoh etiuq eb oT

==See also==

*[[disk]]
*[[scout]]

Alt Syllabus

2018-01-15T23:14:50Z

Admin: Reverted edits by Monday12 (talk) to last revision by Jeffreyleaf

'''ALT INTRO TO E-LIT SYLLABUS'''

UCLA 2017
ENGL 116B

Collectively compiled & appended to the "official" syllabus, 10.26.17.

----
RP ~ YouTube Vids and Views

'''Critical Readings:''' I Cheated YouTube for 5 Months and Finally got Caught [[https://www.dailydot.com/business/youtube-buy-fake-views-deleted/]]

'''Creative Works:''' "The Chase" Interactive Video [[https://www.youtube.com/watch?v=KFsv8tGHkHY]]

SB Sultan -
Critical Reading: Gaming the Literary: On Video Games and Literature[[http://www.nymgamer.com/?p=12515]]
Creative Work: 100 Funny Video Game Memes [[https://www.gamedesigning.org/video-game-memes/]]

LCS ~ Unit: The Role of Social Media in Preserving Poetry

'''Critical Readings:''' Digital Poets: Can Social Media Save Poetry (Natalie Zfat) [[https://iq.intel.com/digital-poets-can-social-media-save-poetry/]]; Hello 'Poetry' [[https://hellopoetry.com/words/socialmedia/]]

'''Creative Works:''' Top 10 Poetic Tweets (LW Lundquist) [[http://www.tweetspeakpoetry.com/2015/11/19/twitter-poems-top-10-poetic-tweets-4/]]; Instagram: @poemsporn_ [[https://www.instagram.com/poemsporn_/?hl=en]]

LR - Textualities and Interactive Fiction
Critical Readings : Nick Montfort "Riddle Machines: The History and Nature of Interactive Fiction" [[http://digitalhumanities.org/companion/view?docId=blackwell/9781405148641/9781405148641.xml&chunk.id=ss1-5-8&toc.id=0&brand=9781405148641_brand]]

Creative Works : Stevens & Montfort [[https://nickm.com/poems/]] Personal Fav: Field of Dreams

AW - Human + AI Fiction
'''Critical Readings :''' Matt O'Brien, "Think AI Is Scary Already? This Software Writes its Own Horror Stories" [[http://time.com/5002404/mit-shelley-ai-bot-horror-stories/]] AI + humans = really weird horror fiction.

'''Creative Works :''' MIT's Shelley AI generator [[http://shelley.ai/]] Read created stories here: [[http://stories.shelley.ai/]]

QG ~ Writing in Electronic Age

'''Critical Readings:''' The End of Books (Robert Coover) [[http://www.nytimes.com/books/98/09/27/specials/coover-end.html]]

'''Creative Works:''' Screen (Noah Wardrip-Fruin, Josh Carroll, Robert Coover, et. al.) [[http://collection.eliterature.org/2/works/wardrip-fruin_screen.html]]

a.k. – interactive fiction
'''Critical Readings:''' Toward a Theory of Interactive Fiction (Nick Monfort) [[http://nickm.com/if/toward.html]]

'''Creative Works:''' Photopia by Adam Cadre (1998) ( [[http://adamcadre.ac/if/photopia.html]]

.jk. – Consequences of Disappearing Electronic vs. Print Literature

'''Critical Readings:''' One + One = Zero – Vanishing Text in Electronic Literature (Marjorie C. Luesebrink) [[https://conference.eliterature.org/sites/default/files/papers/OnePlusOneEqualsZero_0.docx]]
Vanishing Letters in Text-based Digital Installations (Janez Strehovec) [[http://firstmonday.org/ojs/index.php/fm/article/view/6811/5892]]

'''Creative Work:''' Share a secret – One Time [[https://onetimesecret.com/]]

I.B. - Interactive Fiction

'''Critical Work:''' Hyperrhiz: New Media Cultures (JENNIFER S. ROUDABUSH) [[http://hyperrhiz.io/hyperrhiz10/special-feature-e-lit-reviews/electronic-literature-showcase-at-the-library-of-congress.html]]

'''Creative Works:''' The Hitchhiker's Guide to the Galaxy (Douglas Adams and Steve Meretzky) [[http://textadventures.co.uk/games/view/3cbedqimquselmanehhzxg/the-hitchhikers-guide-to-the-galaxy]] [[http://elit.umwblogs.org/2017/02/10/choose-your-own-youtube-adventure/]]

TC- Fan Fiction
'''Critical Readings:''' Fan fiction, fandoms, and literature: or, why it’s time to pay attention to fan fiction (Christina Yatrakis) [[http://via.library.depaul.edu/cgi/viewcontent.cgi?article=1147&context=etd]]

'''Creative Work:''' HEATHENS (--LJ--) [[https://www.asianfanfics.com/story/view/1156476/heathens-markjin]]

JR - Remediation
"Critical Reading:" Emoji Portrait Art [[https://www.nytimes.com/2017/07/26/style/emoji-portraits-yung-jake.html]]
"Creative Work" Emoji Ink [[http://emoji.ink]]

SG - Serial Narrative through Social Media
'''Critical Reading''': [[Seriality and Storytelling]] in Social Media (Ruth Page) [https://muse.jhu.edu/article/507669/pdf]

'''Creative Works''': Black Box (Jennifer Egan) [https://storify.com/cbcbooks/jennifer-egan-s-black-box] (Tweet Collection), [http://stuyww.weebly.com/uploads/1/4/0/6/14065772/black_box_--_jennifer_egan.pdf] (PDF Format)
Dear David (Adam Ellis) [https://storify.com/moby_dickhead/dear-david] (Tweet Collection), [https://twitter.com/moby_dickhead?lang=en] (Actual Twitter Account)

RT - Twitter and Storytelling

'''Critical Readings:''' Twitter Fiction: Social Networking and Microfiction in 140 Characters (Carla Raguseo) [http://www.tesl-ej.org/wordpress/issues/volume13/ej52/ej52int/?iframe=true&width=80%&height=80%]
Neil Gaiman sets Twitter ablaze with fan collaboration (Laura Blackwell) [https://www.pcworld.com/article/2030776/neil-gaiman-sets-twitter-ablaze-with-fan-collaboration.html]
Twitter Fiction: A Shift in Author Function (Hilary Hyman) [http://discoverarchive.vanderbilt.edu/handle/1803/8205]
Wreading Essays (Charles Bernstein) [http://writing.upenn.edu/bernstein/syllabi/readings/Bernstein-Charles_Pedagogy-essays.pdf ]
Immediacy, Hypermediacy, Remediation (Jay Bolter & Richard Grusin) [https://monoskop.org/images/a/ae/Bolter_Jay_David_Grusin_Richard_Remediation_Understanding_New_Media_low_quality.pdf]
Notes towards a Deformed Humanities (Mark Sample) [http://www.samplereality.com/2012/05/02/notes-towards-a-deformed-humanities/ ]

'''Creative Works:'''A Calendar of Tales by Neil Gaiman [http://www.acalendaroftales.com/uploads/files/COT_E_BOOK.pdf]
Various tweets by Gaiman and his followers, one example linked here [https://twitter.com/neilhimself/status/298477234786816000]
BKS - Digital Academia

'''Critical Reading:''' Living in a Digital World: Rethinking Peer Review, Collaboration, and Open Access by Shiela Cavangh [http://journalofdigitalhumanities.org/1-4/living-in-a-digital-world-by-sheila-cavanagh/]

'''Creative Work''': The Knotted Line [http://knottedline.com/]

B.L. - The Transformation of ELit: Different Forms on Social Media

'''Critical Readings:''' Towards a History of Electronic Literature [http://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=2619&context=clcweb]
Digital poet Jason Nelson urges others to forge new frontiers in electronic literature [http://www.abc.net.au/news/2014-01-02/digital-poet-urges-authors-to-turn-over-new-leaf/5182306]
Has Twitter given birth to a new literary genre? [https://www.theguardian.com/books/booksblog/2014/jan/10/twitter-birth-new-literary-genre]

'''Creative Work''': InstagramELiterature [https://instagrameliterature.wordpress.com/]
Real Human Praise [http://directory.eliterature.org/individual-work/4714]

H.A. - Tweet

""Critical Readings:"" A Literature Review On Twitter Data Analysis [http://www.ijcee.org/vol8/931-IT015.pdf]

""Creative Work"": Lonely Tweets :'( [https://lonelytweets.com/]

LM - Snapchat

'''Critical Readings:''' The Oral Paradigm and Snapchat (Oren Soffer) [http://journals.sagepub.com/doi/abs/10.1177/2056305116666306?rss=1]

'''Creative Works:''' Snap Art (Dasha Battelle) [http://dbatsnap.com/]

HA - Typography/Fonts

'''Critical Readings:''' “Type:Rider” Is The Ultimate Video Game About Typography [https://www.fastcodesign.com/3019584/typerider-is-the-ultimate-video-game-about-typography]

'''Creative Works:''' Type Rider | Part 1 | Let's Play Gameplay Walkthrough Playthrough [https://www.youtube.com/watch?v=UVGK31j9ino]

BL-S - Vaporwave

'''Critical Readings:''' Do You Want Vaporwave, or Do You Want the Truth? [http://capaciousjournal.com/issue/capacious_vol-1_no-1_2017.pdf#page=70]

'''Creative Works:''' ff015 - t e l e p a t h テレパシー能力者 and Silver Richards - 夜遊び tape by freak friendly diy [https://freakfriendlydiy.bandcamp.com/album/ff015-t-e-l-e-p-a-t-h-and-silver-richards-tape]

RS- Materiality

'''Critical Readings:''' The Aesthetics of Materiality in Electronic Literature (Serge Bouchardon) [http://www.utc.fr/~bouchard/articles/Bouchardon-Bergen-materiality-2008.pdf]

'''Creative Works:''' Richard With Hair Doing Things (Richard MacDougall) [https://www.instagram.com/richardwithhairdoingthings/]

J.C. - Hypertext Fiction

'''Critical Readings:''' Reading Hypertext and the Experience of Literature (David S. Miall and Teresa Dobson) [https://journals.tdl.org/jodi/index.php/jodi/article/view/35/37]

'''Creative Works:''' 24 Hours (Philippa J Burne) [http://www.glasswings.com.au/GlassWings/modern/24hours/]
My Body - a Wunderkammer (Shelley Jackson) [http://collection.eliterature.org/1/works/jackson__my_body_a_wunderkammer.html]
Shade (Andrew Plotkin) [http://www.eblong.com/zarf/zweb/shade/]

AW - Videogame Design
'''Critical Readings:''' Maria Garda, "Nostalgia in Retro Game Design" [[http://www.digra.org/wp-content/uploads/digital-library/paper_310.pdf]]
Bryant David Thomas "New Retro: An Exploration of Modern Video Games With A Retro Aesthetic" [[https://etd.ohiolink.edu/!etd.send_file?accession=miami1493401505332341&disposition=inline]]
'''Creative Works:''' Cuphead [[https://www.youtube.com/watch?v=iMkCIdGikmk]] Actual game available on STEAM [[http://store.steampowered.com/app/268910/Cuphead/]]

DK - Interfaces

'''Critical Readings:''' "Race In/For Cyberspace: Identity Tourism and Racial Passing on the Internet" Lisa Nakamura [https://pdfs.semanticscholar.org/3531/da9329d2b7158bd697e1aa8ef073f78de6fb.pdf]

'''Creative Works:''' Between Page and Screen by Amarunth Borsuk [http://www.betweenpageandscreen.com]
Bad Nudes [http://badnudes.com]
Laurel Halo and Hatsune Miku [http://www.aft3r.us/still-be-here/]] and [[https://www.youtube.com/watch?v=aap4eLlt2WI]
Solitude by Martine Syms [https://www.canopycanopycanopy.com/contents/solitude/#title-page]
Dissolution of the Sovereign… by Elysia Crampton [https://soundcloud.com/eande/dissolution-of-the-sovereign-a-time-slide-or-a-non-abled-offenders-exercise-in-jurisprudence]
Glass press [http://www.glasspressofthefuture.com/about]

KU- Instagram
'''Critical Readings:''' What is Instagram and Why is it so Popular [https://ischool.syr.edu/infospace/2011/12/15/what-is-instagram-and-why-is-it-so-popular/]
Instagram Influences Creative Work [https://www.warc.com/NewsAndOpinion/News/35288?]
'''Creative Works:''' Instagram-Creative Workshop [https://www.instagram.com/creative_work_shop/] The 20 Most Creative Instagram Pages [http://www.lifehack.org/articles/productivity/the-20-most-creative-instagram-accounts-that-will-inspire-you.html]

CC

Spirit Surfing, Kevin Bewersdorf [http://veryinteractive.net/content/4-library/1-spirit-surfing/bewersdorf-spiritsurfing.pdf]
Screen. Image. Text., Orit Gat [http://rhizome.org/editorial/2012/may/16/screen-image-text/]
Jodi's Infrastructure, Alexander R. Galloway [http://www.e-flux.com/journal/74/59810/jodi-s-infrastructure/]

Live Simulations, Ian Cheng [http://iancheng.com/#simulations]
When all my friends are on at once [http://allmyfriendsatonce.com/]
Tripod Zoo by my dear friend Gabe Pine! [http://gabepine.com/]

J.K. -Interactive Fiction

Creative: "Choose Your Own Youtube Adventure!" [[http://elit.umwblogs.org/2014/02/01/on-visual-novels-one-in-particular/]]
Critical: "On Visual Novels, One in Particular" [[http://elit.umwblogs.org/2017/02/10/choose-your-own-youtube-adventure/]]

SK - Commenting on Comments

'''Critical''': Why Are YouTube Comments the Worst on the Internet [[https://www.newstatesman.com/science-tech/internet/2016/10/why-are-youtube-comments-worst-internet]]
'''Creative''': Rooster_86 [[https://www.reddit.com/r/HighQualityGifs/comments/77d9ou/the_predictable_threads_are_driving_me_insane/#bottom-comments]]
We Didn't Start the Flame War [[https://www.youtube.com/watch?v=_QyYaPWasos]]
LY- GIFS
'''Critical Readings:''' Fast, Cheap, and Good: Why Animated GIFs Engage Us [http://delivery.acm.org/10.1145/2860000/2858532/p575-bakhshi.pdf?ip=131.179.61.143&id=2858532&acc=ACTIVE%20SERVICE&key=CA367851C7E3CE77%2E79535EF926D6BC05%2E4D4702B0C3E38B35%2E4D4702B0C3E38B35&CFID=999019442&CFTOKEN=72613616&__acm__=1509047554_4015bb14b1cc2a3313309d563bcf7be5]
How GIF Won the Internet [http://www.bbc.com/culture/story/20170825-how-the-gif-won-the-internet]
'''Creative Works:''' The Story of Gif [http://thestoryofgif.com/]
Being An English Major as told by 'The Office' [https://www.theodysseyonline.com/english-major-told-office-gifs]
Classical Art as Gifs [https://www.boredpanda.com/classic-painting-gifs-kiszkiloszki/]
j.l. – interactive fiction
'''Critical Readings:''' Electronic Literature its Emerging Forms (by Dr. Dene Grigar) [[http://dtc-wsuv.org/elit/elit-loc/denes-curatorial-statement]]

'''Creative Works:''' r/nosleep ( [[https://www.reddit.com/r/nosleep/comments/78td1x/the_part_of_the_deep_web_that_we_arent_supposed/]]

SS - Critiques of The Internet via the Internet (or, Supreme Hypocrisy)

'''Critical Readings''': A conceptual and methodological critique of internet addiction research: Towards a model of compensatory internet use
[http://www.sciencedirect.com/science/article/pii/S0747563213004093], On the Democratizing and De-Democratizing Logics of the Internet, or, toward a Critique of the New
Technological Fetishism [http://journals.sagepub.com/doi/abs/10.1177/026327640201900110]

'''Creative Readings''': Screen-Free Parenting Facebook Group [https://www.facebook.com/screenfreeparenting/], "Pure Living for Life" Off-the-Grid YouTube personality/info
channel [https://www.youtube.com/channel/UChhBsM9K_Bc9a_YTK7UUlnQ/videos], Digital Detox Twitter page [https://twitter.com/_DigitalDetox], Camp Grounded: where adults go to
unplug [http://campgrounded.org/]

H.H. - Interactive fiction
'''Critical Readings:'''Reading from paper versus screens: a critical review of the empirical literature (by Andrew Dillon) [[https://www.ischool.utexas.edu/~adillon/Journals/Reading.htm]]

'''Creative Readings:'''Twine Emoji game [[http://rilarhiv.ru/online/emoji_game/o_O.html]]

AH - Translating Electronic Literature
'''Critical Readings:''' Translating Electronic Literature [[https://periodicos.ufsc.br/index.php/textodigital/article/view/.../0]]

'''Creative Work:''' Amore de Clarice [[http://www.elevenkosmos.net/tallerFlash/amor2/]]

AW - ARGs
'''Critical Readings:''' Jeff Watson, "Games Beyond the ARG" [[https://books.google.com/books?hl=en&lr=&id=cYo3DgAAQBAJ&oi=fnd&pg=PA187&dq=alternate+reality+games+arg&ots=49MH4sM4iI&sig=DrzosSa3M0ZC1cV7rxYArWtQ0MM#v=onepage&q=alternate%20reality%20games%20arg&f=false]]
Michael Anderson "The Optimist" Draws Fans Into Fictionalized Disney History" [[https://www.wired.com/2013/07/disney-the-optimist-arg/]]
"Inside The Optimist: Solving Disney’s alternate reality game – What We Know" [[http://www.insidethemagic.net/inside-the-optimist-solving-disneys-alternate-reality-game-what-we-know/]]
Bryan Bishop "How Disney Imagineering revealed the secrets of Tomorrowland two years ago" [[https://www.theverge.com/2013/8/20/4639110/the-optimist-disney-imagineerings-push-to-bring-alternate-reality]]

egk

'''Critical Reading:'''Game Studies: Narrative, Games, and and Theory [http://gamestudies.org/0701/articles/simons]
'''Creative Reading:''' Depression Quest [http://www.depressionquest.com/dqfinal.html], The Matter of the Great Dragon [http://landsofdream.net/dragon.html], The Temple of No [https://crowscrowscrows.itch.io/the-temple-of-no]

AG - Memes
"'Critical Reading:'" The Rise of Memes as an Art Form [http://artzealous.com/the-rise-of-memes-as-an-art-form/]
How to Run a Successful Meme Page [https://www.digitaltrends.com/social-media/how-to-make-your-own-meme/]
"'Creative Work:'" Fuck Jerry [https://www.instagram.com/fuckjerry/?hl=en]
UCLA Memes for Sick AF Tweens [https://www.facebook.com/groups/163576114113950/]

[[File: pepe.jpg|200px|thumb|right|alt text]]

msl. - Interactive Film
'''Critical Readings:''' I-Docs: The Evolving Practices of Interactive Documentary by Ben Moskowitz, Chapter 12: https://goo.gl/Di3HrE

'''Creative Work:''' Arcade Fire, The Wilderness Downtown: http://www.thewildernessdowntown.com/ (An interactive film by Chris Milk) If the link doesn't work, watch here: https://www.youtube.com/watch?v=mrnn_ccnVPI,
People Walking (part 1), https://www.youtube.com/watch?v=XOSTHbXDaTE

<div id="Evil–Dead–Haunted–Zombie Media">dss</div> - [[#Evil–Dead–Haunted–Zombie Media]]

'''Critical Readings:''' Bruce Sterling, Dead Media Manifesto [[http://www.alamut.com/subj/artiface/deadMedia/dM_Manifesto.html]], Interview [[http://www.ctheory.net/articles.aspx?id=208]]

Garnet Hertz and Jussi Parrika, “Zombie Media” [[http://mediaarchaeologylab.com/wp-content/uploads/2013/06/Zombie-media.pdf]]

Matthew Fuller and Andrew Goffey, Evil Media, “Introduction” [[http://dss-edit.com/nupod/src/Fuller,%20Matthew;%20Goffey,%20Andrew%20-%20Evil%20Media.pdf]]

Jeffery Sconce, Haunted Media, Chapter 1: “Mediums and Media” [[https://monoskop.org/images/2/20/Sconce_Jeffrey_Haunted_Media_ch_1.pdf]]

Friedrich Kittler, “Dracula’s Legacy” [[https://anybody.memoryoftheworld.org/Friedrich%20Kittler/Literature,%20Media,%20Information%20Systems%20%28841%29/Literature,%20Media,%20Information%20Systems%20-%20Friedrich%20Kittler.pdf]]

'''Creative Readings:''' Garnet Hertz, A Collection of Many Problems (In Memory of The Dead Media Handbook) [[http://www.conceptlab.com/problems/]]

Dead Media Catalog [[http://www.deadmedia.org/notes/index-cat.html]]

Julius Nelson, Artyping [[https://loriemersondotnet.files.wordpress.com/2014/01/artyping.pdf]]

Lorenzo Thomas, Dracula [[http://eclipsearchive.org/projects/DRACULA/html/pictures/001.html]]

Seriality and Storytelling

2018-01-15T23:14:49Z

Admin: Reverted edits by Monday12 (talk) to last revision by Russia today

I chose to read the critical work and creative works on the topic “Seriality and storytelling in social media,” as well as one other creative work called “Lonely Tweets” from the topic “Tweet.” I chose to read the works on this topic because I think it has a clear relationship to my own topic, which is Twitter fiction. The concept of seriality can also be harnessed in Twitter fiction, and my topic also incorporates the role of social media regarding storytelling, though not just with serial stories.

Reading the works featured under this topic has helped me come up with ideas relating to my own project. The critical work Seriality and Storytelling in Social Media has led me to realise that serial text need not be narrative, and makes me wonder what non-narrative forms serial text can take. When I think of fiction, I always think of narratives but have come to realise that is a bit limiting as fiction in general just refers to something not wholly grounded in reality, and need not be a narrative. Hence, my '''wreading of Twitter fiction need not necessarily take a narrative form'''.

Seriality may also be “open-ended,” meaning it does not have a clear “beginning, middle and end.” I found this interesting in relation to the idea of fiction since it also challenges my understanding of what constitutes fiction and stories – '''stories need not have a beginning and end'''. I found this clearer when I read the Lonely Tweets. Many of these function as micro-stories without endings and are aggregated by the website continuously.

I found the idea of collaborative seriality very intriguing as well. Ruth Page brought up the example of collaborative writing in Wiki pages, which made me think of our class Wiki page. However, the idea of collaboration in telling stories via social media also led me to think of Neil Gaiman’s collaboration with his Twitter followers to write stories. The concept introduced hence made me consider the possibility of '''incorporating an interactive or collaborative element''' into my midterm project.

While the creative works given were meant to be used as examples of serial storytelling, I found one of them (Black Box by Jennifer Egan) still useful as an example of Twitter fiction, and the other (Dear David by Adam Ellis) a good example of storytelling via Twitter.

Egan’s work allowed me to analyse the effects of Twitter fiction. I realized Twitter fiction was very easy and fast to read, as each tweet is only a sentence. Interestingly, however, Twitter fiction may force close reading of every sentence, as part of the story and on its own (e.g. “Sunlight on bare skin can be as nourishing as food.”), and user feedback on the story can be captured immediately via likes and retweets.

In examining the Dear David tweets, I saw the value of using multiple media formats (text, sound, pictures, videos) in drawing audiences in – when tweeting about there being a ghost in his apartment, Adam Ellis would post things like Polaroid pictures and Soundcloud recordings to enhance the authenticity of what he was tweeting. I felt that this was very effective as what he tweeted allowed me to sometimes experience the same things he was feeling, including bewilderment and worry.

E-Lit Wiki

2018-01-15T23:13:41Z

Admin: Reverted edits by Monday12 (talk) to last revision by Andy

[[File:Elit_web.png|200px|thumb|right|For further reading, refer to [http://www.lulu.com/shop/ucla-elit/e-lit-what-is-it-revised-expanded-ucla-edition-v201-10317-315-345pm/paperback/product-23358123.html]]][[What]] is [[see also: nothing?|not]] [[electronic]] literature today? Rather than introduce electronic literature or “e-lit” as a [[distinct]] literary [[category]], ELIT WIKI wonders if it’s still possible to consider literature [[beyond]] the electronic circuits that characterize the networked present. The [[creation]] and study of literature today is facilitated by a range of [[digital]] formats and networked [[consoles]], each of which introduce [[new]] [[practices]] of production, [[circulation]], [[reception]], and [[reading]]. Alongside these [[transformations]], this wiki explores a range of new literary genres inhabiting, for example, [[computer]] scripts, image [[macros]], flash movies, [[social media]], [[hypertext]] [[bandcamp]] [[releases]], [[interactive]] applications, and print on demand [[Analysis of Diana Hamilton's Dreams|books]]. Thinking through the present, ELIT WIKI examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent [[internet publications]], we track the [[development]] of [[literature]] [[under the influence]] of [[computation]] up to works published in the [[present]], as they emerge online. In lockstep, this wiki considers the category of “electronic literature” as a way to [[think]] about historical works remediated to the internet, in a wide range of [[(post-)]]digital formats. The wiki features short pages in an open format, which may be [[critical]] or [[creative]] in form, [[developed]] in [[conversation]] with the editors. No previous experience in [[programming]], [[poetry]], or literature is [[required]] to read these [[pages]].

== Inspiration ==

This wiki surveys the development and current state of electronic literature, from the popularity of hypertext fiction in the [[1980's]] to the present, focusing on a [[range]] of emergent genres. It also [[discusses]] the central critical [[issues]] raised by electronic literature, pointing out that there is significant overlap with the [[print tradition]]. At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical [[models]] and new ways of [[playing]] and [[interpreting]] the works. E-Lit WIki is not a systematic attempt to [[survey]] and summarize the [[fast]]-changing field of electronic literature, artists, [[designers]], writers, critics—instead, it imagines itself a [[playful]] [[engagement]] with the forms and [[platforms]] of the present. (See [http://eliterature.org/pad/elp.html Hayles, 2007])[http://members.cafepress.com/editdesign/111448880]

== See Also ==

[[Paragraphs on Conceptual Wiki Posts]]

[[Concept Twitter]]

[[Alt Syllabus]]

[[Poor Bootleg]]

[[Wreading E-Lit]]

[[E-Lit Reddit: WreadIt]]

[[Post-Digital Reading Library]]

[[Post-Digital Objects]]

Under the influence

2017-11-27T09:12:23Z

Admin: Reverted edits by Itsacat (talk) to last revision by Egk

Dear E-Lit,

We need to talk. You see, sometimes I haven't a clue what you do and most times I wonder why you even do whatever it is that you do. I thought we could enjoy a two-way conversation but you have been vague all the while. In our most recent meeting I have tried to make sense of the topsy-turvy roller coaster you have strapped me on with "Permutation Poems" but instead, here I am, at wit's end and fists in the air. At first, I admit, I was annoyed with having to read each iteration and wanted to rest my tired, weary eyes but then an idea came to mind: what if this poem was a means of bridging me and you together, person to computer? How romantic and how poetic, I thought--I still think, truthfully, sometimes. You were exploring the boundaries of your artistry and reaching out to finally communicate with me in the only way you knew how. Immersing myself in your poetry was almost sad in that your creations are limited by plug n' chug algorithms, but also quite beautiful in that each rearranged sentence is your attempt at organic poetry. I confess being nearly swept away at how brilliant it seemed until I read, "RE CALLING ALL ACTIVE AGENTS." A mental shudder and a few steps back make me suddenly realize the utter randomness of your words and, even more significantly, the senselessness. I felt like you were calling to action a sleeper agent from among the audience to orchestrate some unexpected and possibly heinous scheme. Unbelievably, in our every encounter you present the conversation piece and I simply react and ponder the if's and the why's and the what's. Is there [[meaning]] to the things you create? Am I, the audience, meant to mull over everything? In what other ways can we interact more wholly?

[[File:Permutations.png|thumb|center|alt=A snapshot of Joseph Moore's "Permutations"|A snapshot of Joseph Moore's "Permutations"'.]]

Sincerely,

Confused (and slightly under the influence) Bibingka

== See also ==
*[[Creative]]
*[[programming]]

E-Lit Wiki

2017-11-27T08:44:27Z

Admin: Reverted edits by Thebookworm139 (talk) to last revision by Admin

[[File:Elit_web.png|200px|thumb|right|For further reading, refer to [http://www.lulu.com/shop/ucla-elit/e-lit-what-is-it-revised-expanded-ucla-edition-v201-10317-315-345pm/paperback/product-23358123.html]]][[What]] is [[see also: nothing?|not]] [[electronic]] literature today? Rather than introduce electronic literature or “e-lit” as a [[distinct]] literary [[category]], ELIT WIKI wonders if it’s still possible to consider literature [[beyond]] the electronic circuits that characterize the networked present. The [[creation]] and study of literature today is facilitated by a range of [[digital]] formats and networked [[consoles]], each of which introduce [[new]] [[practices]] of production, circulation, [[reception]], and [[reading]]. Alongside these [[transformations]], this wiki explores a range of new literary genres inhabiting, for example, [[computer]] scripts, image [[macros]], flash movies, social media, [[hypertext]] [[bandcamp]] [[releases]], [[interactive]] applications, and print on demand [[Analysis of Diana Hamilton's Dreams|books]]. Thinking through the present, ELIT WIKI examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent [[internet publications]], we track the [[development]] of [[literature]] [[under the influence]] of [[computation]] up to works published in the [[present]], as they emerge online. In lockstep, this wiki considers the category of “electronic literature” as a way to [[think]] about historical works remediated to the internet, in a wide range of [[(post-)]]digital formats. The wiki features short pages in an open format, which may be [[critical]] or [[creative]] in form, [[developed]] in [[conversation]] with the editors. No previous experience in [[programming]], [[poetry]], or literature is [[required]] to read these [[pages]].

== Inspiration ==

This wiki surveys the development and current state of electronic literature, from the popularity of hypertext fiction in the [[1980's]] to the present, focusing on a [[range]] of emergent genres. It also discusses the central critical [[issues]] raised by electronic literature, pointing out that there is significant overlap with the print tradition. At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and [[interpreting]] the works. E-Lit WIki is not a systematic attempt to survey and summarize the [[fast]]-changing field of electronic literature, artists, [[designers]], writers, critics—instead, it imagines itself a [[playful]] [[engagement]] with the forms and platforms of the present. (See [http://eliterature.org/pad/elp.html Hayles, 2007])[http://members.cafepress.com/editdesign/111448880]

== See Also ==

[[Paragraphs on Conceptual Wiki Posts]]

[[Concept Twitter]]

[[Alt Syllabus]]

[[Poor Bootleg]]

[[Wreading E-Lit]]

[[E-Lit Reddit: WreadIt]]

[[Post-Digital Reading Library]]

[[Post-Digital Objects]]

Drivel

2017-11-26T10:14:19Z

Admin: Reverted edits by Andy (talk) to last revision by Wifi password

Gonna get a little #deep here.[http://thejogging.tumblr.com/image/92834359146]

There's an intern behind a desk, maybe paid minimum wage or paid the prospect of a future job opportunity, working at a company where they vetted her application by looking at her social media accounts, checking for any unsavory behaviors, where sitting at a desk at the corporate office she writes tweets that create a [https://twitter.com/DennysDiner/status/913469981786025984 uncontroversial stir] among users sitting at their desk, on a bus, on the toilet, when they retweet it for a chuckle, for a laugh, DM it to their friends, saying, "they said what?!" all in good fun except for the intern who takes her work seriously, because her work is not her work but the brand's reach, each tweet reaching farther and farther, on a dashboard, on a wall, on a forum, ending up in a wiki on electronic literature as an example of "Art After Social Media" for an assignment written by Wifi_password, fitting their brand of #post and delivering some primo content, though it gets hard and one has to remain consistent and not let the [https://twitter.com/dennysdiner/status/603238682259169280?lang=en truth slip], because it is off-brand to be [https://pbs.twimg.com/media/DF6kWvjW0AAp_BZ.jpg inconsistent], so the intern never deviates and the content st(r)eams ahead from her finger tips to the heart and minds of millions of Denny's followers to be remembered not as art but as an ad that you see on a Monday afternoon that makes you ask, "when did I start following Denny's?"

E-Lit Wiki

2017-11-21T21:29:33Z

Admin: /* Inspiration */

[[File:Elit_web.png|200px|thumb|right|For further reading, refer to [http://www.lulu.com/shop/ucla-elit/e-lit-what-is-it-revised-expanded-ucla-edition-v201-10317-315-345pm/paperback/product-23358123.html]]][[What]] is [[see also: nothing?|not]] [[electronic]] literature today? Rather than introduce electronic literature or “e-lit” as a [[distinct]] literary [[category]], ELIT WIKI wonders if it’s still possible to consider literature [[beyond]] the electronic circuits that characterize the networked present. The [[creation]] and study of literature today is facilitated by a range of [[digital]] formats and networked [[consoles]], each of which introduce [[new]] [[practices]] of production, circulation, [[reception]], and [[reading]]. Alongside these [[transformations]], this wiki explores a range of new literary genres inhabiting, for example, [[computer]] scripts, image [[macros]], flash movies, social media, [[hypertext]] [[bandcamp]] [[releases]], [[interactive]] applications, and print on demand [[Analysis of Diana Hamilton's Dreams|books]]. Thinking through the present, ELIT WIKI examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent [[internet publications]], we track the [[development]] of [[literature]] [[under the influence]] of [[computation]] up to works published in the [[present]], as they emerge online. In lockstep, this wiki considers the category of “electronic literature” as a way to [[think]] about historical works remediated to the internet, in a wide range of [[(post-)]]digital formats. The wiki features short pages in an open format, which may be [[critical]] or [[creative]] in form, [[developed]] in [[conversation]] with the editors. No previous experience in [[programming]], [[poetry]], or literature is [[required]] to read these [[pages]].

== Inspiration ==

This wiki surveys the development and current state of electronic literature, from the popularity of hypertext fiction in the [[1980's]] to the present, focusing on a [[range]] of emergent genres. It also discusses the central critical [[issues]] raised by electronic literature, pointing out that there is significant overlap with the print tradition. At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and [[interpreting]] the works. E-Lit WIki is not a systematic attempt to survey and summarize the [[fast]]-changing field of electronic literature, artists, [[designers]], writers, critics—instead, it imagines itself a [[playful]] [[engagement]] with the forms and platforms of the present. (See [http://eliterature.org/pad/elp.html Hayles, 2007])[http://members.cafepress.com/editdesign/111448880]

== See Also ==

[[Paragraphs on Conceptual Wiki Posts]]

[[Concept Twitter]]

[[Alt Syllabus]]

[[Poor Bootleg]]

[[Wreading E-Lit]]

[[E-Lit Reddit: WreadIt]]

[[Post-Digital Reading Library]]

[[Post-Digital Objects]]

Wreading E-Lit

2017-11-05T06:18:10Z

Admin:

'''An Inventory of Approaches to Wreading E-Lit'''

Optionally compiled November 5th, 2017

Wreading E-Lit

2017-11-05T06:16:54Z

Admin: Created page with " == An Inventory of Approaches to Wreading E-Lit == Optionally compiled November 5th, 2017"

== An Inventory of Approaches to Wreading E-Lit ==

Optionally compiled November 5th, 2017

E-Lit Wiki

2017-11-05T06:15:23Z

Admin:

[[File:Elit_web.png|200px|thumb|right|For further reading, refer to [http://www.lulu.com/shop/ucla-elit/e-lit-what-is-it-revised-expanded-ucla-edition-v201-10317-315-345pm/paperback/product-23358123.html]]][[What]] is [[see also: nothing?|not]] [[electronic]] literature today? Rather than introduce electronic literature or “e-lit” as a [[distinct]] literary [[category]], ELIT WIKI wonders if it’s still possible to consider literature [[beyond]] the electronic circuits that characterize the networked present. The [[creation]] and study of literature today is facilitated by a range of [[digital]] formats and networked [[consoles]], each of which introduce [[new]] [[practices]] of production, circulation, [[reception]], and [[reading]]. Alongside these [[transformations]], this wiki explores a range of new literary genres inhabiting, for example, [[computer]] scripts, image [[macros]], flash movies, social media, [[hypertext]] [[bandcamp]] [[releases]], [[interactive]] applications, and print on demand [[Analysis of Diana Hamilton's Dreams|books]]. Thinking through the present, ELIT WIKI examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent [[internet publications]], we track the [[development]] of [[literature]] [[under the influence]] of [[computation]] up to works published in the [[present]], as they emerge online. In lockstep, this wiki considers the category of “electronic literature” as a way to [[think]] about historical works remediated to the internet, in a wide range of [[(post-)]]digital formats. The wiki features short pages in an open format, which may be [[critical]] or [[creative]] in form, [[developed]] in [[conversation]] with the editors. No previous experience in [[programming]], [[poetry]], or literature is [[required]] to read these pages.

== Inspiration ==

This wiki surveys the development and current state of electronic literature, from the popularity of hypertext fiction in the [[1980's]] to the present, focusing on a [[range]] of emergent genres. It also discusses the central critical [[issues]] raised by electronic literature, pointing out that there is significant overlap with the print tradition. At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and [[interpreting]] the works. E-Lit WIki is not a systematic attempt to survey and summarize the fast-changing field of electronic literature, artists, [[designers]], writers, critics—instead, it imagines itself a [[playful]] [[engagement]] with the forms and platforms of the present. (See [http://eliterature.org/pad/elp.html Hayles, 2007])

== See Also ==

[[Paragraphs on Conceptual Wiki Posts]]

[[Concept Twitter]]

[[Alt Syllabus]]

[[Poor Bootleg]]

[[Wreading E-Lit]]

E-Lit Wiki

2017-11-02T22:44:50Z

Admin:

[[File:Elit_web.png|200px|thumb|right|For further reading, refer to [http://www.lulu.com/shop/ucla-elit/e-lit-what-is-it-revised-expanded-ucla-edition-v201-10317-315-345pm/paperback/product-23358123.html]]][[What]] is [[see also: nothing?|not]] [[electronic]] literature today? Rather than introduce electronic literature or “e-lit” as a [[distinct]] literary [[category]], ELIT WIKI wonders if it’s still possible to consider literature [[beyond]] the electronic circuits that characterize the networked present. The [[creation]] and study of literature today is facilitated by a range of [[digital]] formats and networked [[consoles]], each of which introduce [[new]] [[practices]] of production, circulation, [[reception]], and [[reading]]. Alongside these [[transformations]], this wiki explores a range of new literary genres inhabiting, for example, [[computer]] scripts, image [[macros]], flash movies, social media, [[hypertext]] [[bandcamp]] [[releases]], [[interactive]] applications, and print on demand [[Analysis of Diana Hamilton's Dreams|books]]. Thinking through the present, ELIT WIKI examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent [[internet publications]], we track the [[development]] of [[literature]] [[under the influence]] of [[computation]] up to works published in the [[present]], as they emerge online. In lockstep, this wiki considers the category of “electronic literature” as a way to [[think]] about historical works remediated to the internet, in a wide range of [[(post-)]]digital formats. The wiki features short pages in an open format, which may be [[critical]] or [[creative]] in form, [[developed]] in [[conversation]] with the editors. No previous experience in [[programming]], [[poetry]], or literature is [[required]] to read these pages.

== Inspiration ==

This wiki surveys the development and current state of electronic literature, from the popularity of hypertext fiction in the [[1980's]] to the present, focusing on a [[range]] of emergent genres. It also discusses the central critical [[issues]] raised by electronic literature, pointing out that there is significant overlap with the print tradition. At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and [[interpreting]] the works. E-Lit WIki is not a systematic attempt to survey and summarize the fast-changing field of electronic literature, artists, designers, writers, critics—instead, it imagines itself a [[playful]] [[engagement]] with the forms and platforms of the present. (See [http://eliterature.org/pad/elp.html Hayles, 2007])

== See Also ==

[[Paragraphs on Conceptual Wiki Posts]]

[[Concept Twitter]]

[[Alt Syllabus]]

[[Poor Bootleg]]

Poor Bootleg

2017-11-02T22:44:16Z

Admin: Created page with "Collective NewHive Bootleg Experiment Links:"

Collective NewHive Bootleg Experiment

Links:

E-Lit Wiki

2017-11-02T16:14:56Z

Admin:

[[File:Elit_web.png|200px|thumb|right|For further reading, refer to [http://www.lulu.com/shop/ucla-elit/e-lit-what-is-it-revised-expanded-ucla-edition-v201-10317-315-345pm/paperback/product-23358123.html]]][[What]] is [[see also: nothing?|not]] [[electronic]] literature today? Rather than introduce electronic literature or “e-lit” as a [[distinct]] literary [[category]], ELIT WIKI wonders if it’s still possible to consider literature [[beyond]] the electronic circuits that characterize the networked present. The [[creation]] and study of literature today is facilitated by a range of [[digital]] formats and networked [[consoles]], each of which introduce [[new]] [[practices]] of production, circulation, [[reception]], and [[reading]]. Alongside these [[transformations]], this wiki explores a range of new literary genres inhabiting, for example, [[computer]] scripts, image [[macros]], flash movies, social media, [[hypertext]] [[bandcamp]] [[releases]], [[interactive]] applications, and print on demand [[Analysis of Diana Hamilton's Dreams|books]]. Thinking through the present, ELIT WIKI examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent [[internet publications]], we track the [[development]] of [[literature]] [[under the influence]] of [[computation]] up to works published in the [[present]], as they emerge online. In lockstep, this wiki considers the category of “electronic literature” as a way to [[think]] about historical works remediated to the internet, in a wide range of [[(post-)]]digital formats. The wiki features short pages in an open format, which may be [[critical]] or [[creative]] in form, [[developed]] in [[conversation]] with the editors. No previous experience in [[programming]], [[poetry]], or literature is [[required]] to read these pages.

== Inspiration ==

This wiki surveys the development and current state of electronic literature, from the popularity of hypertext fiction in the [[1980's]] to the present, focusing on a [[range]] of emergent genres. It also discusses the central critical [[issues]] raised by electronic literature, pointing out that there is significant overlap with the print tradition. At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and [[interpreting]] the works. E-Lit WIki is not a systematic attempt to survey and summarize the fast-changing field of electronic literature, artists, designers, writers, critics—instead, it imagines itself a [[playful]] [[engagement]] with the forms and platforms of the present. (See [http://eliterature.org/pad/elp.html Hayles, 2007])

== See Also ==

[[Paragraphs on Conceptual Wiki Posts]]

[[Concept Twitter]]

[[Alt Syllabus]]

File:Elit web.png

2017-11-02T16:08:20Z

Admin:

2017-10-17T00:13:05Z

Admin:

What is [[see also: nothing?|not]] electronic literature today? Rather than introduce electronic literature or “e-lit” as a [[distinct]] literary [[category]], ELIT WIKI wonders if it’s still possible to consider literature [[beyond]] the electronic circuits that characterize the networked present. The [[creation]] and study of literature today is facilitated by a range of [[digital]] formats and networked [[consoles]], each of which introduce [[new]] [[practices]] of production, circulation, [[reception]], and [[reading]]. Alongside these [[transformations]], this wiki explores a range of new literary genres inhabiting, for example, [[computer]] scripts, image [[macros]], flash movies, social media, [[hypertext]] [[bandcamp]] [[releases]], [[interactive]] applications, and print on demand [[Analysis of Diana Hamilton's Dream]]. Thinking through the present, ELIT WIKI examines the history and future of literature through the everyday experience of computers and electronic devices. From the history of digital poetics to recent internet publications, we track the [[development]] of [[literature]] [[under the influence]] of computation up to works published in the present, as they emerge online. In lockstep, this wiki considers the category of “electronic literature” as a way to [[think]] about historical works remediated to the internet, in a wide range of [[(post-)]]digital formats. The wiki features short pages in an open format, which may be critical or [[creative]] in form, [[developed]] in [[conversation]] with the editors. No previous experience in [[programming]], [[poetry]], or literature is [[required]] to read these pages.

== Inspiration ==

This wiki surveys the development and current state of electronic literature, from the popularity of hypertext fiction in the 1980's to the present, focusing on a range of emergent genres. It also discusses the central critical issues raised by electronic literature, pointing out that there is significant overlap with the print tradition. At the same time, the essay argues that the practices, texts, procedures, and processual nature of electronic literature require new critical models and new ways of playing and interpreting the works. E-Lit WIki is not a systematic attempt to survey and summarize the fast-changing field of electronic literature, artists, designers, writers, critics—instead, it imagines itself a playful engagement with the forms and platforms of the present.

== See Also ==

[[Paragraphs on Conceptual Wiki Posts]]

[[Concept Twitter]]

2017-10-01T17:51:03Z

Admin: Admin moved page Main Page to E-Lit Wiki

Main Page

2017-10-01T17:51:03Z

Admin: Admin moved page Main Page to E-Lit Wiki

#REDIRECT [[E-Lit Wiki]]

E-Lit Wiki

2017-10-01T17:50:37Z

Admin: Created page with "ENG 116B: Introduction to Electronic Literature What is not electronic literature today? Rather than introduce electronic literature or “e-lit” as a distinct literary cat..."