Engagement - Revision history

Mikey at 10:36, 7 December 2017

2017-12-07T10:36:10Z

Mikey at 10:36, 7 December 2017

2017-12-07T10:36:00Z

Mikey at 10:35, 7 December 2017

2017-12-07T10:35:44Z

Socalnewyorker at 05:51, 30 November 2017

2017-11-30T05:51:22Z

Socalnewyorker at 21:49, 8 November 2017

2017-11-08T21:49:46Z

Classified at 21:37, 6 November 2017

2017-11-06T21:37:29Z

Classified at 21:36, 6 November 2017

2017-11-06T21:36:45Z

Classified at 21:36, 6 November 2017

2017-11-06T21:36:08Z

Classified at 21:35, 6 November 2017

2017-11-06T21:35:42Z

Classified at 21:34, 6 November 2017

2017-11-06T21:34:33Z

← Older revision		Revision as of 10:36, 7 December 2017
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−	[Engagement] - noun	+	[[Engagement]] - noun

	1. a formal agreement to get married.		1. a formal agreement to get married.

← Older revision		Revision as of 10:36, 7 December 2017
Line 1:		Line 1:
−	[[Engagement]] - noun	+	[Engagement] - noun

	1. a formal agreement to get married.		1. a formal agreement to get married.

← Older revision		Revision as of 10:35, 7 December 2017
Line 1:		Line 1:
−	Engagement - noun	+	[[Engagement]] - noun

	1. a formal agreement to get married.		1. a formal agreement to get married.

← Older revision		Revision as of 05:51, 30 November 2017
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	Electronic literature allows for readers and consumers of said literature to experience engagement that print media simply cannot provide. Christopher Funkhouser describes one of these methods of engagement in his work on digital media. He lists what he classifies as four main forms of hypertext works, one of which is a visual work that the reader has to negotiate and explore themselves. This allows a realm of possibility to open up, far beyond the typical relationship readers have with print literature.		Electronic literature allows for readers and consumers of said literature to experience engagement that print media simply cannot provide. Christopher Funkhouser describes one of these methods of engagement in his work on digital media. He lists what he classifies as four main forms of hypertext works, one of which is a visual work that the reader has to negotiate and explore themselves. This allows a realm of possibility to open up, far beyond the typical relationship readers have with print literature.

−	One example of this a project called [http://knottedline.com/tkl.html The Knotted Line], a work referenced to in Miriam Posner's explanation on the unexplored possibilities of digital humanities. The Knotted Line is a webpage that shows a series of winding, interconnected lines and illustrations. Only by clicking and dragging the lines around can the reader reveal the true message of the work. On the "other side" of the line are entirely different illustrations as well as small nodes of information which explain and describe the systematic oppression faced by people of the color in the United States. Rather than [[passively]] read the information, readers have to physically look for the information, thus providing a multimedia experience that forces the reader to [[engage]] with the work in an entirely new way.	+	One example of this a project called [http://knottedline.com/tkl.html The Knotted Line], a work referenced to in Miriam Posner's explanation on the unexplored possibilities of digital humanities. The Knotted Line is a webpage that shows a series of winding, interconnected lines and illustrations. Only by clicking and dragging the lines around can the reader reveal the true message of the work. On the "other side" of the line are entirely different illustrations as well as small nodes of information which explain and describe the systematic oppression faced by people of the color in the United States. Rather than [[passively]] read the information, readers have to physically look for the information, thus providing a multimedia experience that forces the [[reader]] to [[engage]] with the work in an entirely new way.

← Older revision		Revision as of 21:49, 8 November 2017
Line 9:		Line 9:
	Electronic literature allows for readers and consumers of said literature to experience engagement that print media simply cannot provide. Christopher Funkhouser describes one of these methods of engagement in his work on digital media. He lists what he classifies as four main forms of hypertext works, one of which is a visual work that the reader has to negotiate and explore themselves. This allows a realm of possibility to open up, far beyond the typical relationship readers have with print literature.		Electronic literature allows for readers and consumers of said literature to experience engagement that print media simply cannot provide. Christopher Funkhouser describes one of these methods of engagement in his work on digital media. He lists what he classifies as four main forms of hypertext works, one of which is a visual work that the reader has to negotiate and explore themselves. This allows a realm of possibility to open up, far beyond the typical relationship readers have with print literature.

−	One example of this a project called [http://knottedline.com/tkl.html The Knotted Line], a work referenced to in Miriam Posner's explanation on the unexplored possibilities of digital humanities. The Knotted Line is a webpage that shows a series of winding, interconnected lines and illustrations. Only by clicking and dragging the lines around can the reader reveal the true message of the work. On the "other side" of the line are entirely different illustrations as well as small nodes of information which explain and describe the systematic oppression faced by people of the color in the United States. Rather than [[passively]] read the information, readers have to physically look for the information, thus providing a multimedia experience that forces the reader to engage with the work in an entirely new way.	+	One example of this a project called [http://knottedline.com/tkl.html The Knotted Line], a work referenced to in Miriam Posner's explanation on the unexplored possibilities of digital humanities. The Knotted Line is a webpage that shows a series of winding, interconnected lines and illustrations. Only by clicking and dragging the lines around can the reader reveal the true message of the work. On the "other side" of the line are entirely different illustrations as well as small nodes of information which explain and describe the systematic oppression faced by people of the color in the United States. Rather than [[passively]] read the information, readers have to physically look for the information, thus providing a multimedia experience that forces the reader to [[engage]] with the work in an entirely new way.

@@ Line 5: / Line 5: @@
 . something that engages (ex to hold the attention of)
-[[File:My Boyfriend Came Back From The War.png|200px|thumb|right|An example of engagement from My Boyfriend Came Back From The War]]
+[[File:My Boyfriend Came Back From The War.png|200px|thumb|right|An example of engagement from My Boyfriend Came Back From The War (S.K)]]
 Electronic literature allows for readers and consumers of said literature to experience engagement that print media simply cannot provide. Christopher Funkhouser describes one of these methods of engagement in his work on digital media. He lists what he classifies as four main forms of hypertext works, one of which is a visual work that the reader has to negotiate and explore themselves. This allows a realm of possibility to open up, far beyond the typical relationship readers have with print literature.
 One example of this a project called [http://knottedline.com/tkl.html The Knotted Line], a work referenced to in Miriam Posner's explanation on the unexplored possibilities of digital humanities. The Knotted Line is a webpage that shows a series of winding, interconnected lines and illustrations. Only by clicking and dragging the lines around can the reader reveal the true message of the work. On the "other side" of the line are entirely different illustrations as well as small nodes of information which explain and describe the systematic oppression faced by people of the color in the United States. Rather than [[passively]] read the information, readers have to physically look for the information, thus providing a multimedia experience that forces the reader to engage with the work in an entirely new way.