Introduction to Electronic Literature - User contributions [en]

Good example

2017-11-28T07:47:27Z

Rebsav: Created page with "I have seen [http://www.imdb.com/title/tt5726616/?ref_=nv_sr_1 Call Me By Your Name] two times this week. Such an amazing film. It's fucked me up. I keep thinking about life,..."

I have seen [http://www.imdb.com/title/tt5726616/?ref_=nv_sr_1 Call Me By Your Name] two times this week. Such an amazing film. It's fucked me up. I keep thinking about life, my identity, and how little I know and have left to learn. As emo as I've been lately because of this (No more [https://www.youtube.com/watch?v=lJJT00wqlOo Sufjan] !!), I am excited to incorporate these thoughts into my final project. I plan on doing an interactive video, or a pseudo-computer game of some sort, on the life of a college student. This idea stems from our class' exploration of playable narratives, glitched/disrupted games and my discovery of the 1995 CD-ROM game Mckenzie & Co. Mckenzie & Co. is a dating sim where the user is a high school girl (choosing between 2 options) whose objective is to pick and win the boy of her dreams (also between two options, unless you have the expansion pack, then it's 4!). The graphics are very lo-fi and the gameplay is limited, you mainly watch what happens to you as you fall into a relationship with the boy you select. From this, I've thought a lot about creating a game that critiques the gender/sexuality stereotypes the original game promotes, but in addition making a game that is only quasi-functional. The trickiest thing I must plan out is whether I am going to use Youtube, Newhive, or a third format. Regardless, I will be make a choose-your-adventure type video. Another obstacle is making sure I critique the original game in a way that is not completely obvious but also does not reinforce the things I am trying to fight when you take the game out of context.

I really enjoyed Jagoda's thoughtful piece this week on "Network Ambivalence." I don't really know how to tie that into my idea but I'd like to try. My work will definitely include theory on the poor image, Bogost's "Approach to video game criticism" and Sample's "Notes to a Deformed Humanities." I highly encourage you all to watch a little bit of McKenzie & Co. if you have time: [https://www.youtube.com/watch?v=rolorCirPF8&t=330s]

Comments

2017-11-28T07:24:20Z

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Rather than write a summary about what I learned from this week's reading, I decided to simply copy/paste the comments I made while annotating the Ian Bogost -- I will limit it to the introduction and 1st chapter of his book. I felt it would be interesting to look at these comments I made in a new light -- that is, stripped from its original context of Ian Bogost's book. Hope I'm making sense!

'''INTRODUCTION'''
Aim?
His Theory is that contemporary literary analysis similar to computation

Move/Swing Back

Hardwork

Video Games controlled by the market

Still unsure what that means

Interesting

True

Yes!

Jargon is a unit?

?

Criticism is a toolbox

Give a working definition of Ludology

Just talks about game theory

Video games are different!

Interchangeable

Only part you care about!

Cool!

[[File:IanBogost.jpg|400px|thumb|right|Mr.Unit-Based Analysis himself, Ian Bogost]]

'''Chapter 1'''

? What

So its not like system operations?

Unit operation interpret networks? What networks?

System operations = literary authority

Bleh. Just filler about bio.

Unit operation = function

System = Context

Not as simple as binary opposition

New definitions for systems derived by networking of components

More genome bleh

Meh just talking about the history of the shift from system -> unit complexity

Definition time!

Systems can be units to other systems! Wow!

Unit =/= object because of c.s definition

Unit = object

Units are everything

Should I care about Luhmann?

Ok. Makes sense

Problems with system operations

Less focused on discovery with complex

Yikes. Heidegger

All this Heidegger talk

Operation is the transformation of input

How abstract

Heidegger = Software engineering

Why do you repeat yourself?

No principle only function and logic

God & Nature = Unit..

1 Substance, many modes

Useless paragragh

Ok here we go

ball of TWINE

Spinoza more digitial

Cantor: Coherent totality

Contain the infinite through set

Count as one & Situation

Every one is a multiple =/= no unit

One = operation

Being belonging to a situation

meh review

Badiou configuring multiples to one

Procedurality in computers the ability of formalizing many units

Problem with count as one

Unit operation universal shouldn't be limited

Procedularity and literary formula

Unit analysis good for unpacking

Example of unit analysis

[[Good example]]

Interesting

-Bliss

Post-Digital Objects

2017-11-14T07:16:57Z

Rebsav:

ak [https://www.zazzle.com/personalized_skateboarding_deck-186104620587553361]
[[File:Skateboard.png]]

Ahh [http://www.cafepress.com/cp/customize/product2.aspx?from=CustomDesigner&number=161166709][[File:capture.jpg]]

Ultimate Sith Lord [https://www.zazzle.com/pd/spp/pt-zazzle_button?pd=145189715486365911&get_started_dialog=false&style=round_button&size=4.0&design.areas=%5Bround_button_4_front%5D&context=114948436752540819&view=113175413667360156&customize_it=true] [[File:BiPin.png]]

Gone Girls: A Chinese Social Media Calendar [https://www.zazzle.com/z/ohnkn?rf=238584585323274374]
[[File:Calendar.png]]

[http://www.cafepress.com/+gray_victorian_stripes_personalized_mini_button,1650185276]
TC- [[File:SL.png]]

B.L. [https://www.zazzle.com/pd/spp/pt-fuji_fleximagnet?pd=160253066305325380&get_started_dialog=false&style=3x4&design.areas=%5B3x4_front_vert%5D&context=114997964782531219&view=113340096181419361&customize_it=true]
[[File:Magnet.png]]

R.T. [http://www.cafepress.com/cp/customize/product.aspx?number=162336037]
[[File: Post-digital product.png]]

L.R.[http://www.cafepress.com/cp/viewcart.aspx?s=selfbuy&keepshopping=%2fselfbuy]
[[File: Shower-Curtain.jpg]]

K.U. [https://www.zazzle.com/pd/spp/pt-zazzle_keychain?dz=e2e516a1-3529-438d-a001-29e3aa13f2e5&side_name=front&style=round_keychain&size=2.25&design.areas=%5Bfront_horz%5D&context=114529070928263395&view=113908062333046724]
[[File: Keychain product.jpg]]

CC
[https://www.makestickers.com/design/171113155203-0t0lv0dxhff4go0lioz2hq1u?pgid=cb689947-8001-4c34-911b-8c1b96e80dd2]
 
[[File: In_a_deserted_airport.jpg|400px]]

B.K.S. [http://www.cafepress.com/mf/111447537/postdigital-cage_mugs?productId=163153093]
[[File: Post-cage_mug.png]]

H.H.
[https://www.zazzle.com/pd/spp/pt-zazzle_keychain?dz=f855417b-6737-440b-9b5c-5f7941886d95&clone=true&pending=true&social=true&style=round_keychain&size=2.25&design.areas=%5Bfront_horz%5D&view=113191793730158827&utm_medium=Email&utm_source=ProductShareToSenderV2&utm_content=viewbutton-share_npepf]
[[File:unnamed.jpg]]

msl. [http://dss-edit.com/elit/wiki/index.php?title=2017.145]
[[File:notforeveryone.jpg]]

LM [https://www.zazzle.com/the_post_digital_walt_whitman_coffee_mug-168833273063555296] [[File:pdww.png|550px]]

S.K. [https://www.zazzle.com/z/oaepq?rf=238042114372788340] [[File:TheLibraryofBabel.jpg]]

L.Y. [https://www.zazzle.com/z/oakb2?rf=238853390982089085]
[[File:case.jpg]]

DK [https://www.zazzle.com/pd/spp/pt-chandlerscandles_pillarcandle?dz=d7826b32-7c86-4e31-9a24-9424798e2f6d&side_name=front&size=3x4&design.areas=%5Bchandlerscandles_pillarcandle_3x4_front%5D&context=114699858786462415&view=113019550034018106]
[[File:pdfsmell.png|300px]]

SS Praise Yerself Basic B Tee
[[File:PYTee.png]]
[https://www.zazzle.com/elit_praise_yerself_basic_b_tee-235003308015304718]

egk [https://www.zazzle.com/the_egg_iphone_8_plus_7_plus_case-179925456825542258]
[[File:TheEgg.png]]

H.A.
[https://www.zazzle.com/custom_12_x_12_canvas-192429994291513112]
[[File:belladonna.jpg]]

A.G.
[https://www.zazzle.com/pd/spp/pt-hamptontech_pingpongpaddle?pd=256908551209089994&get_started_dialog=false&backstyle=black&design.areas=%5Bhamptontech_pingpongpaddle_front%5D&context=114545480977447346&view=113486439360235037&customize_it=true]
[[File:Postdigital.jpg]]

B.L-S
[https://www.zazzle.com/z/oabhz]
[[File:pillow.png]]

H.A.
[https://www.zazzle.com/z/oaba0?rf=238069332498932093]
[[File:Magnet_ttgttpd.PNG]]

Jk
[[https://www.zazzle.com/elit_keyboard_t_shirt-235215738596091921]]
[[File:blue.png]]

RS
[https://www.zazzle.com/create_your_own_minx_nail_art-256667985666229848]
[[File: Screen Shot 2017-11-13 at 11.13.37 PM.png]]

File:Screen Shot 2017-11-13 at 11.13.37 PM.png

2017-11-14T07:14:31Z

Rebsav:

Transformations

2017-11-07T22:12:09Z

Rebsav:

[[File:this-grandmas-makeup-transformation-is-jaw-droppi-2-22615-1462806449-0_dblbig.jpg]]

trans·for·ma·tion
(noun)
- a thorough or dramatic change in form or appearance.

"Its landscape has undergone a radical transformation" (via Google Definitions).

I want to focus on the opening passage about Brother Jacob. Why would Hayles choose this particular story out of ALL passages in the world? What makes this passage so important in providing context for Electronic Literature? Maybe Hayles picked this passage so the reader can sympathize with Brother Jacob, whom is losing his entire life's works and specialized skills to the mechanical type. Maybe Hayles wants to introduce a connection between the "passing of time" and the transformations that happen over time (Hayles). Or, maybe she wants to stir the pot a little by revealing the uneasiness and fear that many print-poets have towards the inevitable Electronic Literature. E-lit has transformed multiple ideas regarding poetry: the definition of poetry, the platform in which poetry is produced, and the overall expectation of what poetry should be, which would make any "old-fashioned" writer or poet fear for the art they dedicated their lives to. People read poetry to find an emotional connection, and to satisfy their fears that someone out there in the world is feeling the exact same things. [[People]] look for clarity, reality, and deeper meanings to life. Because there are so many expectations as to what true poetry is, poets spend their entire lifetimes trying to produce the perfect pieces for the masses. Hence, not everyone can be a poet. However, Electronic Poetry defies the pre-existing notion of poetry. Electronic poetry transforms the realm of poets and opens up the art to everyone (like John the Computer Science Major.) [[Anyone]] can make electronic poetry, which is what makes this art so incredibly diverse, unique, [[malleable]], and progressive. Electronic Literature is unnerving for people like Brother Jacob and my grandma (who don't know how to work computers or iPhones) because it dives into the unknown. It does not conform to pre-existing notions of poetry in any forms, which I think is pretty cool.

Anyway, I got carried away. Overall, I think Hayles uses Brother Jacob as an example of the [[fear]] and uncertainty we all feel with Electronic Literature. Is it poetry or is it mumbo-jumbo?

-Lorel
==See Also==
[[Poetry]]
[[New]]
[[Nonsensical gibberish]]

*[[art]]
*[[emotional]]

File:This-grandmas-makeup-transformation-is-jaw-droppi-2-22615-1462806449-0 dblbig.jpg

2017-11-07T22:11:44Z

Rebsav:

Transformations

2017-11-07T22:11:07Z

Rebsav:

[[File:this-grandmas-makeup-transformation-is-jaw-droppi-2-22615-1462806449-0_dblbig.jpg]] trans·for·ma·tion
(noun)
- a thorough or dramatic change in form or appearance.

"Its landscape has undergone a radical transformation" (via Google Definitions).

I want to focus on the opening passage about Brother Jacob. Why would Hayles choose this particular story out of ALL passages in the world? What makes this passage so important in providing context for Electronic Literature? Maybe Hayles picked this passage so the reader can sympathize with Brother Jacob, whom is losing his entire life's works and specialized skills to the mechanical type. Maybe Hayles wants to introduce a connection between the "passing of time" and the transformations that happen over time (Hayles). Or, maybe she wants to stir the pot a little by revealing the uneasiness and fear that many print-poets have towards the inevitable Electronic Literature. E-lit has transformed multiple ideas regarding poetry: the definition of poetry, the platform in which poetry is produced, and the overall expectation of what poetry should be, which would make any "old-fashioned" writer or poet fear for the art they dedicated their lives to. People read poetry to find an emotional connection, and to satisfy their fears that someone out there in the world is feeling the exact same things. [[People]] look for clarity, reality, and deeper meanings to life. Because there are so many expectations as to what true poetry is, poets spend their entire lifetimes trying to produce the perfect pieces for the masses. Hence, not everyone can be a poet. However, Electronic Poetry defies the pre-existing notion of poetry. Electronic poetry transforms the realm of poets and opens up the art to everyone (like John the Computer Science Major.) [[Anyone]] can make electronic poetry, which is what makes this art so incredibly diverse, unique, [[malleable]], and progressive. Electronic Literature is unnerving for people like Brother Jacob and my grandma (who don't know how to work computers or iPhones) because it dives into the unknown. It does not conform to pre-existing notions of poetry in any forms, which I think is pretty cool.

Anyway, I got carried away. Overall, I think Hayles uses Brother Jacob as an example of the [[fear]] and uncertainty we all feel with Electronic Literature. Is it poetry or is it mumbo-jumbo?

-Lorel
==See Also==
[[Poetry]]
[[New]]
[[Nonsensical gibberish]]

*[[art]]
*[[emotional]]

Wreading E-Lit

2017-11-06T07:57:41Z

Rebsav:

'''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]

Poor Bootleg

2017-11-02T22:51:18Z

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Collective NewHive Bootleg Experiment

Links:

NOT THE BEES[https://newhive.com/auxiliatrix/not-the-bees]

Beach Each[https://newhive.com/bellalee/beach-each]

POOR IMG [http://newhive.com/bleecka/2017_11_02]

Fear

2017-10-31T06:59:06Z

Rebsav:

https://imgur.com/a/xP3xp

new and improved! improved and new! updated and fresh! fresh and updated!

note: I didn't know how to embed the photo into the wiki tho I tried very hard :/

Fear

2017-10-31T06:54:48Z

Rebsav:

<blockquote class="imgur-embed-pub" lang="en" data-id="a/xP3xp"><a href="//imgur.com/xP3xp">Vapor</a></blockquote><script async src="//s.imgur.com/min/embed.js" charset="utf-8"></script>

Fear

2017-10-31T06:53:10Z

Rebsav: Created page with "<img src= "https://imgur.com/a/xP3xp" alt"">"

Transformations

2017-10-31T06:50:34Z

Rebsav:

trans·for·ma·tion
(noun)
- a thorough or dramatic change in form or appearance.

"Its landscape has undergone a radical transformation" (via Google Definitions).

I want to focus on the opening passage about Brother Jacob. Why would Hayles choose this particular story out of ALL passages in the world? What makes this passage so important in providing context for Electronic Literature? Maybe Hayles picked this passage so the reader can sympathize with Brother Jacob, whom is losing his entire life's works and specialized skills to the mechanical type. Maybe Hayles wants to introduce a connection between the "passing of time" and the transformations that happen over time (Hayles). Or, maybe she wants to stir the pot a little by revealing the uneasiness and fear that many print-poets have towards the inevitable Electronic Literature. E-lit has transformed multiple ideas regarding poetry: the definition of poetry, the platform in which poetry is produced, and the overall expectation of what poetry should be, which would make any "old-fashioned" writer or poet fear for the art they dedicated their lives to. People read poetry to find an emotional connection, and to satisfy their fears that someone out there in the world is feeling the exact same things. [[People]] look for clarity, reality, and deeper meanings to life. Because there are so many expectations as to what true poetry is, poets spend their entire lifetimes trying to produce the perfect pieces for the masses. Hence, not everyone can be a poet. However, Electronic Poetry defies the pre-existing notion of poetry. Electronic poetry transforms the realm of poets and opens up the art to everyone (like John the Computer Science Major.) [[Anyone]] can make electronic poetry, which is what makes this art so incredibly diverse, unique, [[malleable]], and progressive. Electronic Literature is unnerving for people like Brother Jacob and my grandma (who don't know how to work computers or iPhones) because it dives into the unknown. It does not conform to pre-existing notions of poetry in any forms, which I think is pretty cool.

Anyway, I got carried away. Overall, I think Hayles uses Brother Jacob as an example of the [[fear]] and uncertainty we all feel with Electronic Literature. Is it poetry or is it mumbo-jumbo?

-Lorel
==See Also==
[[Poetry]]
[[New]]
[[Nonsensical gibberish]]

*[[art]]
*[[emotional]]

Alt Syllabus

2017-10-26T06:01:21Z

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

UCLA 2017
ENGL 116B

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

----

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

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]]

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 Fiction

'''Critical Readings:''' The Great American Twitter Novel (Ian Crouch) [https://www.newyorker.com/books/page-turner/great-american-twitter-novel]
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]
Neil Gaiman + Twitter = Interactive Storytelling (Barb Dybwab) [http://mashable.com/2009/10/13/neil-gaiman-twitter-audiobook/#sf42aDR8bSqN]

'''Creative Works:''' THE RIGHT SORT from Sceptre Books on Twitter [https://twitter.com/SceptreBooks/timelines/488586138048004096]
Twitter fiction: 21 authors try their hand at 140-character novels [https://www.theguardian.com/books/2012/oct/12/twitter-fiction-140-character-novels]
Hearts, Keys and Puppetry by Neil Gaiman and the Twitterverse [https://www.audible.com/pd/Sci-Fi-Fantasy/Hearts-Keys-and-Puppetry-Audiobook/B0037BODY8?ref_=a_search_c4_1_1_srTtl&qid=1508991209&sr=1-1]
13 Beautiful Pieces of Twitter Fiction Remind Us How Powerful Reading Can Be (Anne Charlton) [https://mic.com/articles/84883/13-beautiful-pieces-of-twitter-fiction-remind-us-how-powerful-reading-can-be#.BuprgLPLI]

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]

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/]

People

2017-10-24T21:10:10Z

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== '''QUESTIONS PLUS ISOLATIONS DIVIDED BY CREATURES = PEOPLE''' ==

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jason n e l s o n 's ***''GENERAL HISTORY OF PEOPLE''*****

----
Knowledge (cringe) secretly obtained, and now bestowed by:
--[[User:Zzyzzx|Zzyzzx]] ([[User talk:Zzyzzx|talk]]) 19:57, 23 October 2017 (MDT)

----

There were
== ~milky people~ ==
and then there were
== ORANGE JUICE PEOPLE ==
Supposedly, there were other people as well, but these are the two well recorded types of people. Eventually these people ascended into the stars, and they became capsule people. Tragically, these capsule people could not overcome their problems, and gradually faded away until there were two capsule people left, one of which was named Charlie. The two capsules decided to freeze themselves for future generations, however on the way to the freezer, Charlie fell and died. One capsule person remains now, in the freezer, beneath the '''frozen pudding'''.

If people = questions + isolations/creatures, then
computers = questions + isolations?
'''Siri what is isolation?'''
''Here's some information from Wikipedia''

== ISOLATION ==
In database systems, isolation determines how transaction integrity is visible to other users and systems. For example, when a user is creating a Purchase Order and has created the header, but not the Purchase Order lines, is the header available for other systems/users, carrying out concurrent operations (such as a report on Purchase Orders), to see? A lower isolation level increases the ability of many users to access the same data at the same time, but increases the number of concurrency effects (such as dirty reads or lost updates) users might encounter. Conversely, a higher isolation level reduces the types of concurrency effects that users may encounter, but requires more system resources and increases the chances that one transaction will block another.

'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN''''' CLEAN'''''COMPUTERSARENOTCLEAN LITERATURE''' DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''YOUARENOTCLEAN''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN'''LITERATURE DOES NOT MEAN CLEAN'''''LITERATURE DOES NOT MEAN CLEAN''LITERATURE DOES NOT MEAN CLEAN

''Inspired by Jason Nelson’s “game, game, game, and again game”''

==See also==
*[[Almond Milk People]]
*[[Vegan Pudding]]

People

2017-10-24T21:09:39Z

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Hypertext

2017-10-24T21:08:08Z

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Hypertext is a great tool for writers to capitalize on. This literary format can encapsulate how readers and writers navigate, not only the digital world, but our contemporary state of living. In our current twenty first century lifestyle, we get bombarded with a vast amount of information or distractions that create interruptions to our nervous system and cognitive system. Because of this, hypertext within the “electronic novel” will be an essential feature of the interaction within the readership of the e-novel. There are four types of hyper text and how they were designed are: (1) those which feature only text presented as a series of nodes which are directly interlinked (sometimes with some sort of "map" that can be used as guidance); (2) those that feature significant graphical and kinetic components (i.e., hypermedia), also based on the 1:1 link—node premise; (3) those that present a virtual object that the user negotiates (without having to constantly "click" on links to traverse that text); and (4) those that are formed through methods of aleatoric progression. [[http://digitalhumanities.org:3030/companion/view?docId=blackwell/9781405148641/9781405148641.xml&chunk.id=ss1-5-11&toc.depth=1&toc.id=ss1-5-11&brand=9781405148641_brand]] This primarily deals with “digital poems” but I strongly feel that it’s applicable to an electronic novel, especially one that breaks away from linear narrative to further experiment or try to encapsulate the enormous amounts of hyper-distractions being thrown at us in our current digital age.

==See also==
*[[I Think My Dog Is Trying To Kill Me]]
*[[I'm not hyper I'm just stubborn]]

Hypertext

2017-10-24T21:06:35Z

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Access

2017-10-24T06:53:44Z

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IplayedtheChristianShawgamewhileIwasinmylectureforfilmediting(sorry)andIwasafan(aswerethepeoplebehindmeinlecture).thejasonnelsondidnotparticularlyimpressme,asitlackedacohesivestory(besidesthatofanti-capitalist?/consummerist?Ibelieve)andremindedmeofagameIusedtoplayasachildonminiclip.com(butlessfun:()Inthewoodswasalsonotforme-alittletriedandfauxdeepIMHO.but!(andthereisabut!)IlovedMyBoyfriendCameBackFromTheWorld.gavemechills.thedifferentdialogboxesreallyresonatedwithmeontheuniversal(ithink)sensethattwopeoplecanbeonsuchdifferentpages(ha-ha)ofarelationshipatthesametime.Itwasinterestinglookingattheadaptationsbutidon'tthinkanythingwasasgoodastheoriginal(isitever?).Also,LOVEDOrteil'sCookieClicker.I'manannyforthisbougiefamilyinthePalisadesandthesonlovestoplaytheactualCookieClickergame(didyouknowit'sarealthing?checkitout).IwouldwatchhimplayitandIalwaysthoughtitwassoabsurdandpointlessthataparodyseems,aswediscussedinearlierlectures,sogooditwasobvious.

Access

2017-10-24T06:35:28Z

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IplayedtheChristianShawgamewhileIwasinmylectureforfilmediting(sorry)and123456789

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2017-10-24T06:34:08Z

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<nowiki>THonestly I played the Christian Shaw Ivideo game while I was in my very dry lecture on film editing.
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2017-10-24T06:33:49Z

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<nowiki>THonestly I played the Christian Shaw Ivideo game while I was in my very dry lecture on film editing.
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Access

2017-10-24T06:32:47Z

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THonestly I played the Christian Shaw Ivideo game while I was in my very dry lecture on film editing.
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01101110

2017-10-24T06:11:25Z

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You have found the hidden wiki link! Well done! Now for the important part that's going to give me credit...

What caught my interest this week was the dial-a-poem. What a feeling it must have been to listen to poetry heavyweights such as Ginsberg and Carrol and hear their works the way they were meant to be heard. For the 60's and 70's, this was a big deal. After reading the article, I opened up YouTube to get a sample of it, and was swiftly reminded about how spoiled our generation is. I listened to an excerpt from Jim Carrol's Basketball Diaries and thought about how easy it was to [[access]]. Poetry, in its pristine form, is usually spoken aloud. Dispersed before a live audience in either a lounge or a theater. Dial-a-poem helped to bring the raw emotional essence of a poem to the masses. Sure, broadcast television did the same on a grander scale but only when the sponsors allowed it. This was a direct precursor to YouTube, so much thanks to them! I didn't look into but does the service still exist? It may seem obsolete by today's standards but payphone collect call numbers still exist so there may be a chance!

SB_Sultan

01101110

2017-10-24T06:11:07Z

Rebsav:

You have found the hidden wiki link! Well done! Now for the important part that's going to give me credit...

What caught my interest this week was the dial-a-poem. What a feeling it must have been to listen to poetry heavyweights such as Ginsberg and Carrol and hear their works the way they were meant to be heard. For the 60's and 70's, this was a big deal. After reading the article, I opened up YouTube to get a sample of it, and was swiftly reminded about how spoiled our generation is. I listened to an excerpt from Jim Carrol's Basketball Diaries and thought about how easy it was to [access]. Poetry, in its pristine form, is usually spoken aloud. Dispersed before a live audience in either a lounge or a theater. Dial-a-poem helped to bring the raw emotional essence of a poem to the masses. Sure, broadcast television did the same on a grander scale but only when the sponsors allowed it. This was a direct precursor to YouTube, so much thanks to them! I didn't look into but does the service still exist? It may seem obsolete by today's standards but payphone collect call numbers still exist so there may be a chance!

SB_Sultan

GLITTER

2017-10-17T06:56:59Z

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<nowiki>
* ~~~~~WELCOME * TO * MY * WIKIPOST~~~~~~ *
</nowiki>

To: professorsnelsonandelectroniclitclass@ucla.edu
From: rebsav@mindspring.net

D3@r Cl4sS,

Rlly enjoyed the pre-colonial ~vibes~ of Yedd@ Morrison's piece. Plus, how cool a name is Yedd@ XD!!! The common theme I seemed 2 find w/ the creative werks we looked at this w33k is that while each piece played w/ traditional works, ideaz, social issuez in a somewhat playful and witty manner (blocking out words from a r@cist book (fr*ck yeah!), making cards for wh3n ppl do f-d up stuff, making a phone line for poemz and poemz only), the result was still a serious and compl@tive werk that was actually extremely profound and, especially in the case of Piper and Morrison, even harrowing. I @lso rlly enjoyed lewking at e-lit that was produced physically as well, as iz the case w/ this week's works. As much as I luv reading on the web, therez something so powerful abt a physical object, like Morrison's cards, that m@ke such a big impact rather than if she had just sent them 2 ppl online. I'm beginning 2 feel lik electronic lit iz like modern art-- ppl who don't g3t it dismiss it as drivel but people who do see p@st its new and at timez confusing format and reach the h3@rt of the work, which, like all other art, is a comment@ry of the human experience. Plus n3w formats and writing stylez expand our ever-changing notion of wh@t is writing! Pr3tty ne@t!

Ta-ta 4 now,

$~* R3bs@v *~$.

GLITTER

2017-10-17T06:56:43Z

Rebsav:

<nowiki>
* ~~~~~WELCOME * TO * MY * WIKIPOST~~~~~~ *
* ____________________________________________ *
* *
</nowiki>

To: professorsnelsonandelectroniclitclass@ucla.edu
From: rebsav@mindspring.net

D3@r Cl4sS,

Rlly enjoyed the pre-colonial ~vibes~ of Yedd@ Morrison's piece. Plus, how cool a name is Yedd@ XD!!! The common theme I seemed 2 find w/ the creative werks we looked at this w33k is that while each piece played w/ traditional works, ideaz, social issuez in a somewhat playful and witty manner (blocking out words from a r@cist book (fr*ck yeah!), making cards for wh3n ppl do f-d up stuff, making a phone line for poemz and poemz only), the result was still a serious and compl@tive werk that was actually extremely profound and, especially in the case of Piper and Morrison, even harrowing. I @lso rlly enjoyed lewking at e-lit that was produced physically as well, as iz the case w/ this week's works. As much as I luv reading on the web, therez something so powerful abt a physical object, like Morrison's cards, that m@ke such a big impact rather than if she had just sent them 2 ppl online. I'm beginning 2 feel lik electronic lit iz like modern art-- ppl who don't g3t it dismiss it as drivel but people who do see p@st its new and at timez confusing format and reach the h3@rt of the work, which, like all other art, is a comment@ry of the human experience. Plus n3w formats and writing stylez expand our ever-changing notion of wh@t is writing! Pr3tty ne@t!

Ta-ta 4 now,

$~* R3bs@v *~$.

GLITTER

2017-10-17T06:56:17Z

Rebsav:

<nowiki>
* *
* >>>>>>>>>>>>>>><<<<<<<<<<<<<<<< *
</nowiki>
<nowiki>
* ~~~~~WELCOME * TO * MY * WIKIPOST~~~~~~ *
* ____________________________________________ *
* *
</nowiki>

To: professorsnelsonandelectroniclitclass@ucla.edu
From: rebsav@mindspring.net

D3@r Cl4sS,

Rlly enjoyed the pre-colonial ~vibes~ of Yedd@ Morrison's piece. Plus, how cool a name is Yedd@ XD!!! The common theme I seemed 2 find w/ the creative werks we looked at this w33k is that while each piece played w/ traditional works, ideaz, social issuez in a somewhat playful and witty manner (blocking out words from a r@cist book (fr*ck yeah!), making cards for wh3n ppl do f-d up stuff, making a phone line for poemz and poemz only), the result was still a serious and compl@tive werk that was actually extremely profound and, especially in the case of Piper and Morrison, even harrowing. I @lso rlly enjoyed lewking at e-lit that was produced physically as well, as iz the case w/ this week's works. As much as I luv reading on the web, therez something so powerful abt a physical object, like Morrison's cards, that m@ke such a big impact rather than if she had just sent them 2 ppl online. I'm beginning 2 feel lik electronic lit iz like modern art-- ppl who don't g3t it dismiss it as drivel but people who do see p@st its new and at timez confusing format and reach the h3@rt of the work, which, like all other art, is a comment@ry of the human experience. Plus n3w formats and writing stylez expand our ever-changing notion of wh@t is writing! Pr3tty ne@t!

Ta-ta 4 now,

$~* R3bs@v *~$.

GLITTER

2017-10-17T06:55:19Z

Rebsav:

<nowiki>
* *
* >>>>>>>>>>>>>>><<<<<<<<<<<<<<<< *

* ~~~~~WELCOME * TO * MY * WIKIPOST~~~~~~ *
* ____________________________________________ *
* *
</nowiki>

To: professorsnelsonandelectroniclitclass@ucla.edu
From: rebsav@mindspring.net

D3@r Cl4sS,

Rlly enjoyed the pre-colonial ~vibes~ of Yedd@ Morrison's piece. Plus, how cool a name is Yedd@ XD!!! The common theme I seemed 2 find w/ the creative werks we looked at this w33k is that while each piece played w/ traditional works, ideaz, social issuez in a somewhat playful and witty manner (blocking out words from a r@cist book (fr*ck yeah!), making cards for wh3n ppl do f-d up stuff, making a phone line for poemz and poemz only), the result was still a serious and compl@tive werk that was actually extremely profound and, especially in the case of Piper and Morrison, even harrowing. I @lso rlly enjoyed lewking at e-lit that was produced physically as well, as iz the case w/ this week's works. As much as I luv reading on the web, therez something so powerful abt a physical object, like Morrison's cards, that m@ke such a big impact rather than if she had just sent them 2 ppl online. I'm beginning 2 feel lik electronic lit iz like modern art-- ppl who don't g3t it dismiss it as drivel but people who do see p@st its new and at timez confusing format and reach the h3@rt of the work, which, like all other art, is a comment@ry of the human experience. Plus n3w formats and writing stylez expand our ever-changing notion of wh@t is writing! Pr3tty ne@t!

Ta-ta 4 now,

$~* R3bs@v *~$.

GLITTER

2017-10-17T06:55:06Z

Rebsav:

<nowiki>
* *
* >>>>>>>>>>>>>>><<<<<<<<<<<<<<<< *
* ~~~~~WELCOME * TO * MY * WIKIPOST~~~~~~ *
* ____________________________________________ *
* *
</nowiki>

To: professorsnelsonandelectroniclitclass@ucla.edu
From: rebsav@mindspring.net

D3@r Cl4sS,

Rlly enjoyed the pre-colonial ~vibes~ of Yedd@ Morrison's piece. Plus, how cool a name is Yedd@ XD!!! The common theme I seemed 2 find w/ the creative werks we looked at this w33k is that while each piece played w/ traditional works, ideaz, social issuez in a somewhat playful and witty manner (blocking out words from a r@cist book (fr*ck yeah!), making cards for wh3n ppl do f-d up stuff, making a phone line for poemz and poemz only), the result was still a serious and compl@tive werk that was actually extremely profound and, especially in the case of Piper and Morrison, even harrowing. I @lso rlly enjoyed lewking at e-lit that was produced physically as well, as iz the case w/ this week's works. As much as I luv reading on the web, therez something so powerful abt a physical object, like Morrison's cards, that m@ke such a big impact rather than if she had just sent them 2 ppl online. I'm beginning 2 feel lik electronic lit iz like modern art-- ppl who don't g3t it dismiss it as drivel but people who do see p@st its new and at timez confusing format and reach the h3@rt of the work, which, like all other art, is a comment@ry of the human experience. Plus n3w formats and writing stylez expand our ever-changing notion of wh@t is writing! Pr3tty ne@t!

Ta-ta 4 now,

$~* R3bs@v *~$.

GLITTER

2017-10-17T06:54:50Z

Rebsav:

<nowiki>* *
* >>>>>>>>>>>>>>><<<<<<<<<<<<<<<< *
* ~~~~~WELCOME * TO * MY * WIKIPOST~~~~~~ *
* ____________________________________________ *
* *
</nowiki>

To: professorsnelsonandelectroniclitclass@ucla.edu
From: rebsav@mindspring.net

D3@r Cl4sS,

Rlly enjoyed the pre-colonial ~vibes~ of Yedd@ Morrison's piece. Plus, how cool a name is Yedd@ XD!!! The common theme I seemed 2 find w/ the creative werks we looked at this w33k is that while each piece played w/ traditional works, ideaz, social issuez in a somewhat playful and witty manner (blocking out words from a r@cist book (fr*ck yeah!), making cards for wh3n ppl do f-d up stuff, making a phone line for poemz and poemz only), the result was still a serious and compl@tive werk that was actually extremely profound and, especially in the case of Piper and Morrison, even harrowing. I @lso rlly enjoyed lewking at e-lit that was produced physically as well, as iz the case w/ this week's works. As much as I luv reading on the web, therez something so powerful abt a physical object, like Morrison's cards, that m@ke such a big impact rather than if she had just sent them 2 ppl online. I'm beginning 2 feel lik electronic lit iz like modern art-- ppl who don't g3t it dismiss it as drivel but people who do see p@st its new and at timez confusing format and reach the h3@rt of the work, which, like all other art, is a comment@ry of the human experience. Plus n3w formats and writing stylez expand our ever-changing notion of wh@t is writing! Pr3tty ne@t!

Ta-ta 4 now,

$~* R3bs@v *~$.

GLITTER

2017-10-17T06:53:21Z

Rebsav: Created page with "* * * >>>>>>>>>>>>>>><<<<<<<<<<<<<<<< * * ~~~~~ WELC..."

* *
* >>>>>>>>>>>>>>><<<<<<<<<<<<<<<< *
* 00:53, 17 October 2017 (MDT) WELCOME * TO * MY * WIKIPOST 00:53, 17 October 2017 (MDT)~~ *
* ____________________________________________ *
* *

To: professorsnelsonandelectroniclitclass@ucla.edu
From: rebsav@mindspring.net

D3@r Cl4sS,

Rlly enjoyed the pre-colonial ~vibes~ of Yedd@ Morrison's piece. Plus, how cool a name is Yedd@ XD!!! The common theme I seemed 2 find w/ the creative werks we looked at this w33k is that while each piece played w/ traditional works, ideaz, social issuez in a somewhat playful and witty manner (blocking out words from a r@cist book (fr*ck yeah!), making cards for wh3n ppl do f-d up stuff, making a phone line for poemz and poemz only), the result was still a serious and compl@tive werk that was actually extremely profound and, especially in the case of Piper and Morrison, even harrowing. I @lso rlly enjoyed lewking at e-lit that was produced physically as well, as iz the case w/ this week's works. As much as I luv reading on the web, therez something so powerful abt a physical object, like Morrison's cards, that m@ke such a big impact rather than if she had just sent them 2 ppl online. I'm beginning 2 feel lik electronic lit iz like modern art-- ppl who don't g3t it dismiss it as drivel but people who do see p@st its new and at timez confusing format and reach the h3@rt of the work, which, like all other art, is a comment@ry of the human experience. Plus n3w formats and writing stylez expand our ever-changing notion of wh@t is writing! Pr3tty ne@t!

Ta-ta 4 now,

$~* R3bs@v *~$.

Universe

2017-10-17T06:24:04Z

Rebsav:

The piece titled "Darkness (chapter 1)" is an electronic form of literature in which Yedda Morrison re-animates the text of Joseph Conrad's "Heart of Darkness". Yedda highlights the words that describe images of nigh time wilderness. This is the story of which the background takes center stage as opposed to the man in the wilderness, we are left with a story of the wilderness itself. The author does a good job of highlighting the key phrases in which make up the dark forrest. The word DARKNESS is appropriately the only word kept from the original title. This is something that I have never come across before and it certainly goes outside of the realm of normal literature. In a sense Yedda has taken the work of one author and cut out everything around the storyline except for the setting, the setting in which is not the focal point of the storyline. One of the words which took me awhile to comprehend as to why it was chosen was the word [[GLITTER]]. It seems as this word does not go hand and hand with the rest of the words and phrases highlighted, however it seems even in the cold and dark night, we are still able to see specs of light, whether that be the moonlight shine upon the river or the fire flies amongst the night.

Concept Twitter

2017-10-12T21:45:30Z

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Paragraphs on Conceptual Wiki Posts

2017-10-09T06:35:28Z

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<nowiki>My inner-monologue has written me that she is in favor of avoiding “creating a cliche ‘paragraphs on wiki posts’ for this week’s reading response”. This should be bad news to both readers and wiki posts. With this assurance I hope to justify her disdain. To use a baseball metaphor (one writer wanted to hit the ball out of the park, another to stay loose at the plate and hit the ball where it was pitched), I am grateful for the opportunity to strike out for myself.</nowiki>

<nowiki>I will refer to the kind of wiki posts in which I am involved as conceptual wiki posts. In conceptual wiki posts the idea or concept is the most important aspect of the work. When an writer uses a conceptual form of wiki posts, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the wiki posts. This kind of wiki posts is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the writer as a craftsman. It is the objective of the writer who is concerned with conceptual wiki posts to make her work mentally interesting to the spectator, and therefore usually she would want it to become emotionally dry. There is no reason to suppose, however, that the conceptual writer is out to bore the viewer. It is only the expectation of an emotional kick, to which one conditioned to expressionist wiki posts are accustomed, that would deter the viewer from perceiving this wiki posts.</nowiki>

<nowiki>Conceptual wiki posts is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the writer, to lull the viewer into the belief that she understands the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of ideas the writer is free even to surprise himself. Ideas are discovered by intuition. What the work of wiki posts looks like isn’t too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the writer is concerned. Once given physical reality by the writer the work is open to the perception of al, including the writer. (I use the word perception to mean the apprehension of the sense data, the objective understanding of the idea, and simultaneously a subjective interpretation of both). The work of wiki posts can be perceived only after it is completed.</nowiki>

<nowiki> Wiki posts that are meant for the sensation of the eye primarily would be called perceptual rather than conceptual. This would include most optical, kinetic, light, and color wiki posts.</nowiki>

<nowiki>Since the function of conception and perception are contradictory (one pre-, the other post fact) the writer would mitigate her idea by applying subjective judgment to it. If the writer wishes to explore his idea thoroughly, then arbitrary or chance decisions would be kept to a minimum, while caprice, taste and others whimsies would be eliminated from the making of the wiki posts. The work does not necessarily have to be rejected if it does not look well. Sometimes what is initially thought to be awkward will eventually be visually pleasing. </nowiki>

<nowiki>To work with a plan that is preset is one way of avoiding subjectivity. It also obviates the necessity of designing each work in turn. The plan would design the work. Some plans would require millions of variations, and some a limited number, but both are finite. Other plans imply infinity. In each case, however, the writer would select the basic form and rules that would govern the solution of the problem. After that the fewer decisions made in the course of completing the work, the better. This eliminates the arbitrary, the capricious, and the subjective as much as possible. This is the reason for using this method.</nowiki>

<nowiki>When an writer uses a multiple modular method she usually chooses a simple and readily available form. The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means. </nowiki>

<nowiki>Conceptual wiki posts doesn’t really have much to do with mathematics, philosophy, or nay other mental discipline. The mathematics used by most writers is simple arithmetic or simple number systems. The philosophy of the work is implicit in the work and it is not an illustration of any system of philosophy. </nowiki>

<nowiki>It doesn’t really matter if the viewer understands the concepts of the writer by seeing the wiki posts. Once it is out of her hand the writer has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.</nowiki>

<nowiki> Recently there has been much written about minimal wiki posts, but I have not discovered anyone who admits to doing this kind of thing. There are other wiki posts forms around called primary structures, reductive, ejective, cool, and mini-wiki posts. No writer I know will own up to any of these either. Therefore I conclude that it is part of a secret language that wiki posts critics use when communicating with each other through the medium of wiki posts wikipedias. Mini-wiki posts is best because it reminds one of miniskirts and long-legged girls. It must refer to very small works of wiki posts. This is a very good idea. Perhaps “mini-wiki posts” shows could be sent around the country in matchboxes. Or maybe the mini-writer is a very small person; say less than five feet tall. If so, much good work will be found in the primary schools (primary school primary structures). </nowiki>

<nowiki> If the writer carries through her idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of wiki posts as any finished product. All intervening steps – sketches, drafts, failed works, google docs, spell check, find and replace– are of interest. Those that show the thought process of the writer are sometimes more interesting than the final product. </nowiki>

<nowiki> Determining what length a piece should be is difficult. If the thing were made gigantic then the size alone would be impressive and the idea may be lost entirely. Again, if it is too small, it may become inconsequential. The font choice may have some bearing on the work and also the size of the font into which the post will be written. I think the piece must be long enough to give the viewer whatever information she needs to understand the work and placed in such a way that will facilitate this understanding. (Unless the idea is of impediment and requires difficulty of vision or access). </nowiki>

<nowiki> The webpage can be thought of as the flat area occupied by an infinite, abstract amount of volume. Any volume would occupy space. It is air and cannot be seen. It is the interval between things that can be measured. The intervals and measurements can be important to a work of wiki posts. If certain distances are important they will be made obvious in the piece. If space is relatively unimportant it can be regularized and made equal (things placed equal distances apart) to mitigate any interest in interval. Regular space might also become a metric time element, a kind of regular beat or pulse. When the interval is kept regular whatever is irregular gains more importance.</nowiki>

<nowiki> Mainstream wikipedia and forms of “purposeful” wiki posts are of completely opposite natures. The former is concerned with making posts with a specific function. Mainstream wikipedia, whether it is a work of wiki posts or not, must be utilitarian or else fail completely. Wiki posts are not utilitarian. When “purposeful” wiki posts start to take on some of the characteristics, such as forming utilitarian areas, it weakens its function as wiki posts. </nowiki>

<nowiki> New materials are one of the great afflictions of contemporary wiki posts. Some writers confuse new materials with new ideas. There is nothing worse than seeing wiki posts that wallows in gaudy baubles. The electronic writing wiki landscape is littered with such failures. By and large most writers who are attracted to these materials are the ones who lack the stringency of mind that would enable them to use the materials well. It takes a good writer to use new materials and make them into a work of wiki posts. The danger is, I think, in making the physicality of the materials so important that it becomes the idea of the work (another kind of expressionism). </nowiki>

<nowiki> Three-dimensional wiki posts of any kind is a physical fact. The physicality is its most obvious and expressive content. Conceptual wiki posts is made to engage the mind of the viewer rather than her eye or emotions. The physicality of a three-dimensional object then becomes a contradiction to its non-emotive intent. Color, surface, texture, and shape only emphasize the physical aspects of the work. Anything that calls attention to and interests the viewer in this physicality is a deterrent to our understanding of the idea and is used as an expressive device. The conceptual writer would want to ameliorate this emphasis on materiality as much as possible or to use it in a paradoxical way (to convert it into an idea). This kind of wiki posts, then, should be stated with the greatest economy of means. Any idea that is better stated in two dimensions should not be in three dimensions. Ideas may also be stated with numbers, photographs, or words or any way the writer chooses, the form being unimportant. </nowiki>

<nowiki> These paragraphs are not intended as categorical imperatives, but the ideas stated are as close as possible to my thinking at this time. These ideas are the result of my work as an writer and are subject to change as my experience changes. I have tried to state them with as much clarity as possible. If the statements I make are unclear it may mean the thinking is unclear. Even while writing these ideas there seemed to be obvious inconsistencies (which I have tried to correct, but others will probably slip by). I do not advocate a conceptual form of wiki posts for all writers. I have found that it has worked well for me while other ways have not. It is one way of making wiki posts; other ways suit other writers. Nor do I think all conceptual wiki posts merits the viewer’s attention. Conceptual wiki posts are good only when the idea is good. </nowiki>

Paragraphs on Conceptual Wiki Posts

2017-10-09T06:25:10Z

Rebsav: Created page with " My inner-monologue has written me that she is in favor of avoiding “creating a cliche ‘paragraphs on wiki posts’ for this week’s reading response”. This should be b..."

My inner-monologue has written me that she is in favor of avoiding “creating a cliche ‘paragraphs on wiki posts’ for this week’s reading response”. This should be bad news to both readers and wiki posts. With this assurance I hope to justify her disdain. To use a baseball metaphor (one writer wanted to hit the ball out of the park, another to stay loose at the plate and hit the ball where it was pitched), I am grateful for the opportunity to strike out for myself.

I will refer to the kind of wiki posts in which I am involved as conceptual wiki posts. In conceptual wiki posts the idea or concept is the most important aspect of the work. When an writer uses a conceptual form of wiki posts, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the wiki posts. This kind of wiki posts is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the writer as a craftsman. It is the objective of the writer who is concerned with conceptual wiki posts to make her work mentally interesting to the spectator, and therefore usually she would want it to become emotionally dry. There is no reason to suppose, however, that the conceptual writer is out to bore the viewer. It is only the expectation of an emotional kick, to which one conditioned to expressionist wiki posts are accustomed, that would deter the viewer from perceiving this wiki posts.

Conceptual wiki posts is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the writer, to lull the viewer into the belief that she understands the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of ideas the writer is free even to surprise himself. Ideas are discovered by intuition. What the work of wiki posts looks like isn’t too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the writer is concerned. Once given physical reality by the writer the work is open to the perception of al, including the writer. (I use the word perception to mean the apprehension of the sense data, the objective understanding of the idea, and simultaneously a subjective interpretation of both). The work of wiki posts can be perceived only after it is completed.

Wiki posts that are meant for the sensation of the eye primarily would be called perceptual rather than conceptual. This would include most optical, kinetic, light, and color wiki posts.

Since the function of conception and perception are contradictory (one pre-, the other post fact) the writer would mitigate her idea by applying subjective judgment to it. If the writer wishes to explore his idea thoroughly, then arbitrary or chance decisions would be kept to a minimum, while caprice, taste and others whimsies would be eliminated from the making of the wiki posts. The work does not necessarily have to be rejected if it does not look well. Sometimes what is initially thought to be awkward will eventually be visually pleasing.

To work with a plan that is preset is one way of avoiding subjectivity. It also obviates the necessity of designing each work in turn. The plan would design the work. Some plans would require millions of variations, and some a limited number, but both are finite. Other plans imply infinity. In each case, however, the writer would select the basic form and rules that would govern the solution of the problem. After that the fewer decisions made in the course of completing the work, the better. This eliminates the arbitrary, the capricious, and the subjective as much as possible. This is the reason for using this method.

When an writer uses a multiple modular method she usually chooses a simple and readily available form. The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.

Conceptual wiki posts doesn’t really have much to do with mathematics, philosophy, or nay other mental discipline. The mathematics used by most writers is simple arithmetic or simple number systems. The philosophy of the work is implicit in the work and it is not an illustration of any system of philosophy.

It doesn’t really matter if the viewer understands the concepts of the writer by seeing the wiki posts. Once it is out of her hand the writer has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.

Recently there has been much written about minimal wiki posts, but I have not discovered anyone who admits to doing this kind of thing. There are other wiki posts forms around called primary structures, reductive, ejective, cool, and mini-wiki posts. No writer I know will own up to any of these either. Therefore I conclude that it is part of a secret language that wiki posts critics use when communicating with each other through the medium of wiki posts wikipedias. Mini-wiki posts is best because it reminds one of miniskirts and long-legged girls. It must refer to very small works of wiki posts. This is a very good idea. Perhaps “mini-wiki posts” shows could be sent around the country in matchboxes. Or maybe the mini-writer is a very small person; say less than five feet tall. If so, much good work will be found in the primary schools (primary school primary structures).

If the writer carries through her idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of wiki posts as any finished product. All intervening steps – sketches, drafts, failed works, google docs, spell check, find and replace– are of interest. Those that show the thought process of the writer are sometimes more interesting than the final product.

Determining what length a piece should be is difficult. If the thing were made gigantic then the size alone would be impressive and the idea may be lost entirely. Again, if it is too small, it may become inconsequential. The font choice may have some bearing on the work and also the size of the font into which the post will be written. I think the piece must be long enough to give the viewer whatever information she needs to understand the work and placed in such a way that will facilitate this understanding. (Unless the idea is of impediment and requires difficulty of vision or access).

The webpage can be thought of as the flat area occupied by an infinite, abstract amount of volume. Any volume would occupy space. It is air and cannot be seen. It is the interval between things that can be measured. The intervals and measurements can be important to a work of wiki posts. If certain distances are important they will be made obvious in the piece. If space is relatively unimportant it can be regularized and made equal (things placed equal distances apart) to mitigate any interest in interval. Regular space might also become a metric time element, a kind of regular beat or pulse. When the interval is kept regular whatever is irregular gains more importance.

Mainstream wikipedia and forms of “purposeful” wiki posts are of completely opposite natures. The former is concerned with making posts with a specific function. Mainstream wikipedia, whether it is a work of wiki posts or not, must be utilitarian or else fail completely. Wiki posts are not utilitarian. When “purposeful” wiki posts start to take on some of the characteristics, such as forming utilitarian areas, it weakens its function as wiki posts.

New materials are one of the great afflictions of contemporary wiki posts. Some writers confuse new materials with new ideas. There is nothing worse than seeing wiki posts that wallows in gaudy baubles. The electronic writing wiki landscape is littered with such failures. By and large most writers who are attracted to these materials are the ones who lack the stringency of mind that would enable them to use the materials well. It takes a good writer to use new materials and make them into a work of wiki posts. The danger is, I think, in making the physicality of the materials so important that it becomes the idea of the work (another kind of expressionism).

Three-dimensional wiki posts of any kind is a physical fact. The physicality is its most obvious and expressive content. Conceptual wiki posts is made to engage the mind of the viewer rather than her eye or emotions. The physicality of a three-dimensional object then becomes a contradiction to its non-emotive intent. Color, surface, texture, and shape only emphasize the physical aspects of the work. Anything that calls attention to and interests the viewer in this physicality is a deterrent to our understanding of the idea and is used as an expressive device. The conceptual writer would want to ameliorate this emphasis on materiality as much as possible or to use it in a paradoxical way (to convert it into an idea). This kind of wiki posts, then, should be stated with the greatest economy of means. Any idea that is better stated in two dimensions should not be in three dimensions. Ideas may also be stated with numbers, photographs, or words or any way the writer chooses, the form being unimportant.

These paragraphs are not intended as categorical imperatives, but the ideas stated are as close as possible to my thinking at this time. These ideas are the result of my work as an writer and are subject to change as my experience changes. I have tried to state them with as much clarity as possible. If the statements I make are unclear it may mean the thinking is unclear. Even while writing these ideas there seemed to be obvious inconsistencies (which I have tried to correct, but others will probably slip by). I do not advocate a conceptual form of wiki posts for all writers. I have found that it has worked well for me while other ways have not. It is one way of making wiki posts; other ways suit other writers. Nor do I think all conceptual wiki posts merits the viewer’s attention. Conceptual wiki posts are good only when the idea is good.

E-Lit Wiki

2017-10-09T06:24:57Z

Rebsav:

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.

[[Paragraphs on Conceptual Wiki Posts]]

E-Lit Wiki

2017-10-05T05:09:50Z

Rebsav:

ENG 116B: Introduction to Electronic Literature

What is not electronic literature today? [[see also: nothing?]] Rather than introduce electronic literature or “e-lit” as a [[distinct]] literary [[category]], this course 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]], we’ll explore 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 books. Thinking through the present, this introduction 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’ll track the [[development]] of [[literature]] under the influence of computation up to works published in the present, as they emerge throughout the quarter. In lockstep, the course 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 course requires short weekly responses in an open format, as well as a mid-term and final assignment, which may be critical or creative in form, [[developed]] in conversation with the instructor. No previous experience in programming, [[poetry]], or literature is required.

Introduction to Electronic Literature - User contributions [en]

Good example

Comments

Post-Digital Objects

File:Screen Shot 2017-11-13 at 11.13.37 PM.png

Transformations

File:This-grandmas-makeup-transformation-is-jaw-droppi-2-22615-1462806449-0 dblbig.jpg

Transformations

Wreading E-Lit

Poor Bootleg

Fear

Fear

Fear

Transformations

Alt Syllabus

People

People

Hypertext

Hypertext

Access

Access

Access

Access

Access

01101110

01101110

GLITTER

GLITTER

GLITTER

GLITTER

GLITTER

GLITTER

GLITTER

Universe

Concept Twitter

Paragraphs on Conceptual Wiki Posts

Paragraphs on Conceptual Wiki Posts

E-Lit Wiki

See also: nothing?

E-Lit Wiki