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1. The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore

   "The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore", by J. R. Carpenter, reflects upon The Broadside of a Yarn, a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with nought but a QR code reader and a hand-made print map of dubious accuracy. The Broadside of a Yarn was commissioned by ELMCIP for Remediating the Social, an exhibition which took place at Inspace, Edinburgh, 1-17 November 2012. The Broadside of a Yarn remediates the broadside, a form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signified that it was intended to be performed.

   J. R. Carpenter - 16.10.2012 - 14:52

2. Reorienting Narrative: E-lit as Psychogeography

   Illya Szilak interviews J. R. Carpenter in her on-going series of posts on E-Lit for Huffington Post Books.

   J. R. Carpenter - 08.07.2013 - 11:54

3. 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