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1. 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

2. 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 Why the differentiation of 'literature' and 'writing' is obsolete, and what the Internet has to do with it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

3. 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

4. 1998 trAce Writer's Conference: Writers & the Internet

   The internet offers great opportunities for writers. There are fascinating new forms of writing to be discovered; interesting people to meet, and swathes of research material to be mined. But it also brings concerns. Authors are worried about copyright and intellectual property. They are wondering how they can earn money from working online. They fear that The Book may be dying. This conference brings together an international group of professional authors and educators with extensive experience of the internet to address some of these anxieties and provide informed opinion about the potential of the net for the artistic community.

   Conference Programme

   DALE SPENDER

   Digital Arts: Breaking The Boundaries Through Online Authorship

   Socrates framed one of the fundamental objections to writing; it was "one-way", it fixed ideas, it required readers simply to follow someone else's argument - which is why he would put nothing in writing. But even Socrates would change his mind if he could be an online author. For online writing is two way, it engages readers to forge their own meanings, and to become a new generation of writers in the process.

   Scott Rettberg - 19.01.2013 - 22:31

5. Incubation2 : The 2nd trAce International Conference on Writing and the Internet

   Incubation2 was the second trAce International Conference on Writing & the Internet, and the premier international event for writers working on the web. It provided a showcase for the writing of the future and offered a glimpse into the work of writers who use the internet to develop ground-breaking content: poetry with sound and images, personal histories, news, journalism, stories with multiple endings. This is writing on the web, for the web, and about the web.

   Speakers included:

   Lizzie Jackson, Editor, Communities, BBCi
   Talan Memmott Hypermedia artist/writer
   Robin Rimbaud (Scanner) Sound artist

   Scott Rettberg - 19.01.2013 - 22:55

6. 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

7. 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

8. 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

9. 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

10. 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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