Introduction to Electronic Literature - User contributions [en]

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2017-11-30T07:17:48Z

Thebookworm139:

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2017-11-30T07:17:19Z

Thebookworm139:

Models

2017-11-30T07:16:15Z

2017-10-24T21:10:49Z

Thebookworm139: /* See also */

Like Borges explored in his short story “The Garden of Forking Paths”, new methods of production require [[people]] to view the ending product with a more observant strategy adventitious from the traditional way of reading. In the story, Ts’ui Pên created a labyrinth embodied in his book, which in some way corresponds with the interactive fiction Hayles mentioned in her essay. The book is described with the word “chaotic” by Pen’s descendants, it is through Albert Stephen’s examination that they found out the book must be read in an unconventional way. The line that I found that summarizes a similarity between the labyrinth and electronic literature is that “in all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses— simultaneously—all of them.” (Borges) Electronic literature, as Professor stated in class, leans more on the “thinkership” rather than “readership”, therefore offers more possibility for the readers’ own interpretation than conventional literature does. What fascinates me about electronic literature is not the content contained(for example in “The Library of Babel”, most of the readings are unable to translate), but the realization that human beings already contained all the answers to everything, yet the realization itself makes it impossible to grasp these answers.

==See also==
[[bandcamp]]

[[vinyl record]]

New

2017-10-24T21:10:31Z

Thebookworm139:

Playful

2017-10-21T23:27:27Z

Thebookworm139: Created page with "This past lecture (Thursday, October 19th) we spent some time at the end of class playing online games. I really enjoyed playing the different games, but playing various games..."

This past lecture (Thursday, October 19th) we spent some time at the end of class playing online games. I really enjoyed playing the different games, but playing various games helped me realize what elements I prefer a game to have. These include: fun music, colorful visuals, and plenty of options to choose from. Fun music is important because it keeps the game entertaining, rather than making it feel boring or monotonous. Colorful visuals are equally important because they add intrigue and appeal to the game, which attracts people like myself. Lastly, I think it is important for a game to have various options to choose from because that way it can cater to all audiences. In other words, having options for people with different interests, as opposed to only a few options that are rather narrow-minded, enables all audiences to feel included and connected to the game. Therefore, when games had all of those three significant elements, I enjoyed the game a lot more (than when they lacked one or more of those qualities). For example, I was initially attracted to the Kesha game because I heard this game's music from the laptops of my classmates. Upon playing this game, I liked the layout as well as the music, but I felt that the content (the different questions and selections) was a bit lacking and did not cater to many audiences. For this reason, I found the Kesha game fun, but perhaps not one of my absolute favorites.

E-Lit Wiki

2017-10-21T22:39:20Z

Thebookworm139:

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]]

Understanding

2017-10-17T03:46:59Z

Thebookworm139:

Something I found fascinating while reading Adrian Piper's ''My Calling (Cards) #1 and #2'' is that Piper does not lose her composure. Despite the discomfort that racism and sexism have caused her, Piper remains clear in regards to what message she wants to send to potential readers. She elucidates that simply because she is at a bar, that does not mean she wants to be the subject of flirtation. Additionally, she does not want to be surrounded by people who engage in any racist behavior. Despite the agitation and resentment that people around her may cause, however, Piper does not appear rude or disrespectful in any way. In Calling Card #2, she capitalizes the word "ALONE," which does not imply a lack of kindness, but rather, makes her point extremely clear. Further, Piper addresses the person as "Friend" in both Calling Card #1 and Calling card #2, despite their ignorant actions, and even says "thank you" in Calling Card #2. These examples suggest that Piper does not lose sight of the clear points she wants to address, in order to prevent these problems from occurring in the future. Her tone and word choice display the power of words, as words can have a drastic effect (positive or negative) on readers and their understanding of a text.

2017-10-04T16:55:14Z

Thebookworm139: Created page with "N. Katherine Hayles' text "Electronic Literature: What is it?" explores the meaning of electronic literature as it pertains to the year 2007. However, as we discussed in class..."

N. Katherine Hayles' text "Electronic Literature: What is it?" explores the meaning of electronic literature as it pertains to the year 2007. However, as we discussed in class on Tuesday, many technological advances have been made in the past ten years, rendering this text in some ways useless to people nowadays. I find it rather interesting that Hayles speaks so objectively and factual about a topic that is actually subjective, as electronic literature means something very different to people currently than it did to people of previous generations ten years ago. While literature in itself can be timeless, as we may read books written hundreds of years ago and grow just as connected to each character in a book written this year. However, something that we touched upon in class resonated with me: electronics are advancing at such a quick speed that it makes electronic literature from one generation exceedingly different from that of another generation. This separates electronic literature from other forms of literature. While this distinction can make it difficult for a member of one generation to understand the electronic literature of a different generation, these distinctions are also very beneficial. The advancement of technology and electronic literature as a whole implies that we are constantly discovering new ways of understanding literature. Literature has grown into something that can be analyzed and manipulated, as opposed to something that must simply be read.

E-Lit Wiki

2017-10-04T16:38:34Z

Thebookworm139:

ENG 116B: Introduction to Electronic Literature

What is not electronic literature today? 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, 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.