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1. Treehouse: A Found E-Mail Love Affair

   A FOUND E-MAIL LOVE AFFAIR UNFOLDS IN FOUR APPISODES™

   Have you ever been involved in a steamy e-mail love affair? What would you do if your scandalous love letters were published in living color for the world to see?

   TREEHOUSE contains the provocative e-mails of an actual love affair carried out online over 14-years-ago during the advent of the Internet. The entire manuscript has been released as a series of tantalizing Appisodes™ to be enjoyed in the privacy of your own phone.

   FILE UNDER:
   Voyeur / Vintage Internet / Romance / Prince

   APPISODE 1: DEEP
   APPISODE 2: DIRTY
   APPISODE 3: DARK
   APPISODE 4: SECRET

   Jill Walker Rettberg - 22.04.2014 - 05:53

2. They Come in a Steady Stream Now

   They Come in a Steady Stream Now

   Jill Walker Rettberg - 22.04.2014 - 06:00

3. Between Floors: The Ups and Downs of Mediated Narrative

   “Between Floors: The Ups and Downs of Mediated Narrative” and the accompanying creative remediation project, “Between Floors: Love and Other Blood Related Diseases,” meld theory and practice of print with electronic literature and installation art. I argue that as the medium changes, the narrative is transformed. The narrative can be reconstructed and pieced together as the reader or viewer becomes increasingly involved, even embodied within the work. This embodiment is what Nathaniel Stern calls “Moving and thinking and feeling” (1) and can result in a more direct emotional experience. The form, structure, and medium (sjužet) rely on authorial intention, yet as a narrative becomes more interactive and experiential the feedback loop shifts, placing meaning, message, and construction of narrative (fabula) between media and reader/viewer. This necessarily complicates the notion of authorship, yet within an embodied space, such as the installations included in this analysis, there is a potential for greater emotional understanding between author/artist and reader/viewer.

   Melinda White - 31.05.2014 - 16:17

4. ScareMail

   ScareMail is a web browser extension that makes email "scary" in order to disrupt NSA surveillance. Extending Google's Gmail, the work adds to every new email's signature an algorithmically generated narrative containing a collection of probable NSA search terms. This "story" acts as a trap for NSA programs like PRISM and XKeyscore, forcing them to look at nonsense. Each email's story is unique in an attempt to avoid automated filtering by NSA search systems. One of the strategies used by the US National Security Agency's (NSA) email surveillance programs is the detection of predetermined keywords. Large collections of words have thus become codified as something to fear, as an indicator of intent. The result is a governmental surveillance machine run amok, algorithmically collecting and searching our digital communications in a futile effort to predict behaviors based on words in emails. ScareMail proposes to disrupt the NSA's surveillance efforts by making NSA search results useless. Searching is about finding the needles in haystacks.

   Alvaro Seica - 19.06.2014 - 17:25

5. My Life in Three Parts

   "My Life in Three Parts" addresses the question of how personal identity is influenced by the language of the web. Our online interactions are often circumscribed by tracking software and various social networks. As a result, our identities--how we view ourselves and how others view us--are shaped and expressed, in part, by personal browsing practices and the vocabulary associated with those practices. So what do our autobiographies look like in this new world? To answer this question, "My Life in Three Parts" ignores the conventions of traditional autobiography in favor of oblique readings of iconic visual symbols, terminology, and concepts found online within the private and social web-spaces of shopping, art, and mathematics. This work uses text, images, audio, and videos to create a synthesized narrative of the self. Nothing about personal identity is clear in this work: the life behind the story is only implied.

   Jill Walker Rettberg - 19.06.2014 - 20:27

6. La hermandad de los escribanos

   In the hypertext story La hermandad de los escribanos the reader becomes the main character. The story is in a folder that can be directly downloaded from the website. A fraternity founded in the Middle Ages takes control of the user and he must read the narrative in a determinate time with enough attention to answer to a number of questions. The work combines text with multimedia elements once it is incorporated characteristics of interactive games. It is different from a game in the fact that the most important thing is the story and not the interactivity. It is a narrative in which everything is put in the right order and apart from the interactivity it can be read coherently.

   Maya Zalbidea - 23.07.2014 - 00:10

7. City of dreams

   'City of dreams' is an excerpt from a work in progress entitled 'a smear of roses' and explores subjectivity, secrets, sadness and desire. The non-linear text of 'a smear of roses' ruptures traditional narrative, opening out into flightlines across the plains of madness, picking up trace memories of disturbing events, sensual and violent impulses, erotic encounters and pyschotic states.

   J. R. Carpenter - 11.10.2014 - 11:42

8. Curlew

   Curlew is an interactive, multimedia poem about one man's encounter with the forces of nature. The narrative centers on Catsinas, a fisherman living alone in a makeshift shack on Curlew, one of several barrier islands in the Gulf Coast known as the Chandeleurs. Based on a true account, the story chronicles the man's futile attempt to save Curlew's shoreline to a storm's destruction of his adopted home.

   Dene Grigar - 30.10.2014 - 03:39

9. Writing Coastlines: Locating Narrative Resonance in Transatlantic Communications Networks

   The term ‘writing coastlines’ implies a double meaning. The word ‘writing’ refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances, and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. The term ‘writing coastlines’ may refer to writing about coastlines, but the coastlines themselves are also writing insofar as they are translating physical processes into marks and actions. Coastlines are the shifting terrains where land and water meet, always neither land nor water and always both. The physical processes enacted by waves and winds may result in marks and actions associated with both erosion and accretion. Writing coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, both points of departure and sites of exchange. One coastline implies another, implores a far shore. The dialogue implied by this entreaty intrigues me.

   J. R. Carpenter - 22.11.2014 - 21:44

10. Hypertext Revisited

    This article proposes a new approach to literary hypertext, which foregrounds the notion of interrupting rather than that of linking. It also claims that, given the dialectic relationship of literature in print and digital-born literature, it may be useful to reread contemporary hypertext in light of a specific type of literature in print that equally foregrounds aspects of segmentation and discontinuity: serialized literature (i.e. texts published in installment form). Finally, it discusses the shift from spatial form to temporal form in postmodern writing as well as the basic difference between segment and fragment.

    J. R. Carpenter - 05.01.2015 - 15:33

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