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Stitch Bitch: the Patchwork Girl
It has come to my attention that a young woman claiming to be the author of my being has been making appearances under the name of Shelley Jackson. It seems you have even invited her to speak tonight, under the misapprehension that she exists, that she is something besides a parasite, a sort of engorged and loathsome tick hanging off my side. May I say that I find this an extraordinary impertinence, and that if she would like to come forward, we shall soon see who is the author of whom.
Well? Well?
Very well.
I expect there are some of you who still think I am Shelley Jackson, author of a hypertext about an imaginary monster, the patchwork girl Mary Shelley made after her first-born ran amok. No, I am the monster herself, and it is Shelley Jackson who is imaginary, or so it would appear, since she always vanishes when I turn up. You can call me Shelley Shelley if you like, daughter of Mary Shelley, author of the following, entitled: Stitch Bitch: or, Shelley Jackson, that imposter, I'm going to get her.
Eric Dean Rasmussen - 14.03.2011 - 20:58
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Creativity is something for hairdressers - so what is it for writers? Why the differentiation of 'literature' and 'writing' is obsolete, and what the Internet has to do with it
I will try to make a blend between the notion of "creative writing", which is typically American (and doesn't exist in most of continental Europe), and the discourse of creative industries, which is typically European, and try to stab the notion of "creative" a bit as a kind of helpless placeholder for something that, for whatever reason, is no longer called literary or artistic. So, referring to Kenny Goldsmith, it's not about a dichotomy creative/uncreative, but what's questionable about the concept in the first place. If we shift the issue from an idealist to a materialist perspective, then the difference between creative/literary writing and common writing has always been arbitrary.
The critical edition of Kafka, which now includes the documents he wrote for his insurance company, is a good example, as are earlier examples of published letters, diaries etc. Foucault's criticism of the the notion of the oeuvre, whether it would include scraps and laundry bills or not, seems quite backwards to me. The actual difference has been one of published and non-published writing, with publishing being (for technical and economic reasons) controlled by an industry.
Eric Dean Rasmussen - 14.06.2012 - 16:38
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How has technology changed writing and literature?
Matthew G. Kirschenbaum, a professor of English at the University of Maryland and director of the Maryland Institute for Technology in the Humanities, explored questions of technology, research, content and writing at the intersection of literary and technological history during an ATLAS Speaker Series presentation Oct. 1, 2012.
Drawing from his book, “Track Changes: A Literary History of Word Processing,” Kirschenbaum talked about how word processors have changed the history and culture of authorship and how technology has changed the relationship of writers to their craft.
This event was a collaboration between the ATLAS Institute, CU’s Department of English, The ICJMT (Information, Communication, Journalism, Media and Technology) Initiative, University Libraries ScriptaLab and Friends of the Libraries.
The ATLAS Speaker Series is made possible by a generous donation by Idit Harel Caperton and Anat Harel.
(Source: Atlas Speaker Series, University of Colorado)
Scott Rettberg - 25.10.2012 - 09:41
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Writing the World: Toward a Systems Approach to E-Writing
Code – The Language of Our Time, new media poetics, and p0es1s. The Aesthetics of Digital Poetry, are three widely regarded collections dealing with e-writing and its code from a humanist perspective. As an indication of how emergent this field of study is, in the several essays and papers that treat computer program code in these works, almost no actual code is presented for analysis or as concrete examples of the abstractions that their authors discuss.
This is altogether understandable. There was no aesthetic arc hovering over and guiding the transition from legacy print writing to e-writing. In fact there was virtually no transition. Ewriting was suddenly there (here). And its foundation, program code, was an immediate fact that few students of literature had been trained to understand. Before they could, a framework had to be built within which this new literature, whose tools of craft are so obscure and esoteric, could be reasoned about and judged. Program code problematizes literary study at its very essence—at the act of creation.
Scott Rettberg - 30.01.2013 - 21:39
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UbuWeb, the archive and the gallery
As a seemingly limitless and comprehensive resource, UbuWeb (http://www.ubu.com) has put together a map of the past hundred or so years of ‘experimental’ writing, film, video, and sound art. It resembles the archive in its breadth and depth, in its relentless collecting, in its inherent totalizing tendencies. My argument is that UbuWeb, while not an ‘archive’ per se, does have a cataloging logic, though it is not apparent, and that its specific logic is based on the commodification of the artwork and the effects of that commodification on its exhibition. To understand that logic, I want to situate UbuWeb at the latest point in a series of discontinuous institutions and discourses that have all taken the ‘artwork’ as their object.
Audun Andreassen - 03.04.2013 - 10:13
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Card Shark and Thespis: Exotic Tools for Hypertext Narrative
Card Shark and Thespis are two newly-implemented hypertext systems for creating hypertext narrative. Both systems depart dramatically from the tools currently popular for writing hypertext fiction, and these departures may help distinguish between the intrinsic nature of hypertext and the tendencies of particular software tools and formalisms. The implementation of these systems raises interesting questions about assumptions underlying recent discussion of immersive, interactive fictions, and suggests new opportunities for hypertext research.
Jill Walker Rettberg - 14.06.2013 - 09:15
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HyperRhetoriods: An Undergraduate Course in Hyperfiction
This brief hypertext is a narrative about the design, assignments, and results of that course. The largest section contains my commentary about Student Responses to the course with references to student Online Learning Records and their course evaluations (more complete samples are also included). Though no formal arguments are made, it is implicit in the narrative that:
Hypertext provides a valuable tool for teaching writing and reading
Collaboration and student independence (owning their own learning) are vital aspects of the learning milieu
Theories of distributed cognition, situated learning, and learning as an ecology provide important pedagogical models
One need not focus on "teaching the technology" in order to teach in a c-a classroom.
The Online Learning Record is an especially significant tool for the development of both student and teacher.Cheryl Ball - 21.08.2013 - 11:48
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Nonlinear Writing
Nonlinear writing refers to (a) a writerly activity and (b) a specific type of written document. The first meaning relates to the strategy of composing a text in a nonsequential way by adding, removing, and modifying passages in various places of manuscript rather than producing it in one piece, from beginning to end. The second meaning refers to documents that are not structured in a sequential way, with a clear beginning, middle, and end. Rather, their macrostructure follows an associative logic, which assembles its composite elements (paragraphs, text chunks, or lexis) into a loosely ordered network. These networks offer readers multiple choices of traversing a document, which can facilitate specific types of reading strategies, such as keyword searches or jumping between main text and footnotes, and complicate others, such as reading for closure or completeness. (Source: Author's introduction)
Thor Baukhol Madsen - 06.02.2015 - 13:10
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Letter to an Unknown Soldier: A Participatory Writing Project
This paper will present Letter to an Unknown Soldier, a new kind of war memorial, made entirely of words. Created by writers Neil Bartlett and Kate Pullinger, the project was commissioned by Britain’s 14-18 NOW to mark the centenary of the outbreak of WW1. Inspired by Charles Jagger’s 1922 bronze statue of a soldier, who stands on Platform One of Paddington Station, London, reading a letter, the digital artwork invited everyone in the country to write their own letter to the soldier.
Letter to an Unknown Soldier began with letters commissioned from 50 well-known UK-based writers; it opened to the public for submissions from mid-May 2014, and all the letters received to date went online on 28 June (the centenary of the assassination of Archduke Ferdinand). The website remained open for submissions for 37 days, until 4 August (the centenary of Britain’s declaration of war). The project quickly snowballed in popularity. By its close, more than 21,400 letters had been received from around the world.
Hannah Ackermans - 16.11.2015 - 10:03
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Writing for Playable Media
As a new media author, I write the visible, readable text (texte-à-voir *) and the underlying source code, the program (texte-auteur *). As a new media artist, I also design and create the user interface and the multimodal elements - the whole thing.
Since starting to write and create in new media, I have felt compelled, by the digital medium itself, to attempt to fully exploit the affordances of programmable media for expressivity by employing non-linear narrative methods, non-trivial interactivity and random programming in poetically and/or narratively meaningful ways. This has led me to create, what Noah Wardrip-Fruin calls, playable media works.
Writing creatively for algorithmically-driven media, working with others’ code frameworks and writing my own programs has led me to consider the expressivity of game processes and, consequently, my work has taken on more game-like characteristics. I’d like to trace this development by presenting a selection of extracts from key works (listed below) which demonstrate this move towards writing for playability.
The key Electronic Literature works:
Christine Wilks - 18.06.2016 - 17:39
