Search
The search found 16 results in 0.009 seconds.
Search results
-
Narrative in Social Media
Stories broadcast in 140 or less characters over the course of a day may, at first, seem only a 21st century update of serialized micro-fiction, yet considering the strategies authors take to produce literary works involving social media, their creations resist easy definition. This paper looks the broad notion of narrative as it plays out in the social networking site, Twitter, in works such as Adam Higgs et al’s “Crushing It: A Social Media Love Story," Jay Bushman’s “The Good Captain,” and Dene Grigar’s “The 24-Hour Micro-Elit Project.” Specifically, the paper asks two questions: First, how do narratives created for social media sites work against what has become the conventional way to describe e-literature? Second, what do we learn about social media literature if we think about it in terms of non-narrativity? At stake are assumptions about what constitutes electronic literature and conventional views about narrativity in relation to works produced with and for digital media.
(Source: author's abstract)
Eric Dean Rasmussen - 13.09.2011 - 15:34
-
On the Art of Producing a Phenomenally Short Fiction Collection over the Net Using Twitter: ‘The 24-Hr. Micro-Elit Project
On the Art of Producing a Phenomenally Short Fiction Collection over the Net Using Twitter: ‘The 24-Hr. Micro-Elit Project
Dene Grigar - 05.10.2011 - 17:42
-
Web 2.0 Storytelling: Emergence of a New Genre
Overview of dozens of examples of what the authors call "Web 2.0 Storytelling" - narratives told on Facebook, Twitter, YouTube and other social media.
Jill Walker Rettberg - 01.11.2011 - 13:48
-
Reconsidering the Electronic Literary Artifact: E-Books, Twitterature, and Digitalized Richard Brautigan
In this panel, "Reconsidering Electronic Literary Artifact," theorists and artists take a look at some of the assumptions that have informed scholarship surrounding electronic literature and offer alternative visions about reading, the notion of “born digital,” and archiving electronic artifacts.
Audun Andreassen - 03.04.2013 - 10:23
-
Panorama de la literatura electrónica hispánica
La relación entre la ciberliteratura y la literatura tradicional es actualmente muy compleja. A pesar del número creciente de obras digitales y del aumento de uso de Internet, la ciberliteratura tiene dificultad para atraer la atención de los lectores, de los editores y de los críticos. El público general, aunque sea usuario activo de la red, parece no interesarse por esta nueva forma narrativa que utiliza el hipertexto, los recursos multimedia y la interactividad. Ante esta situación nos preguntamos: ¿Hasta qué punto los géneros nacidos digitales heredan a la imprenta o son modalidades híbridas (transmedia, crossmedia, multimedia, mash-ups, pastiches) de los géneros triunfantes en el siglo XX (fotografía, fonógrafo, radio, cine, televisión)? Y en fin, la pregunta fundamental: ¿Puede hablarse de literatura cuando la mayoría de las obras nacidas digitales han hecho de las palabras (LITER) un elemento residual, siendo sustituidas por la NET y sus imágenes, sonidos, videos, animaciones, arte digital, diseño gráfico, etc.? En suma, ¿es ya la LiterNETura, LITERatura?
Maya Zalbidea - 18.02.2014 - 23:38
-
OccupyMLA’s Hidden Archive
Part protest novel, part guerilla theater, @OccupyMLA played out on the crowded virtual street corners of Twitter hashtags #mla and #omla for fifteen months before being revealed a as "fiction" at the 2013 MLA e-literature reading. Nineteenth- and twentieth-century protest fiction changed attitudes about slavery and industrial excess; @OccupyMLA charged #MLA members (and hashtag lurkers) to feel angry about dehumanizing adjunct working conditions built upon the "innocent dream" that Ph.D.s in literature could get paid to teach literature.
In a climate of "DH niceness," to dwell on adjuncting as a broken promise was agit-prop. Real life participants added their own anecdotes and Tweeted sympathy to Hazel, comingling "fiction" and "nonfiction" in an eerie, Barthesian "Reality Effect." The Netprov's melodrama and anger were deliberately out of sync with the positivistic #MLA discourse community. "Here's where #omla is correct," opined George Williams in a retweeted pair of Tweets, "conditions for contingent labor in higher ed are abomidable. But making the MLA the target of your ire and your movement is not going to get you very far. + #omla #imho."
Alvaro Seica - 19.06.2014 - 16:16
-
Live/Archive: Occupy MLA
More than other netprovs, Occupy MLA [OMLA] lays bare the ethical and performative capacities of the genre. Both a live performance and an enduring if volatile media artifact, OMLA leaves "data contrails": digital traces of real-time reader participation that slowly decay and become less coherent over time. This decay creates an enduring performance record that distorts the live experience of it. In this essay, the shareable, spreadable and appropriative aspects of netprov as a "born digital" live reading/writing interface are considered. The sheer volume of OMLA's tweets and its installation as time-based art create a primary text whose "primacy" is functionally impossible. Part one of the essay examines how and why OMLA's 3000-tweet archive, #OMLA hashtag, and abundant paraphrastic materials actually take readers further from the live experience rather than closer in.
Kathi Inman Berens - 19.09.2014 - 16:45
-
The Riderly Text: The Joy of Networked Improv Literatur
This essay aims to discuss literary pleasure, new media literacy, and
the Networked Improv Literature (Netprov). In particular, the author
will discuss the challenges of “close-reading” the Speidishow, a
Netprov enacted via Twitter (and a constellation of supplementary
web-based media) over a period of several weeks. In the process of
trying to understand the dynamics of reading on Twitter, the author of
this essay created a Twitter account, @BrutusCorbin, and consulted
with the writers about the plot structure. Through active engagement
with the fictional world, Corbin quickly became embroiled in a
sub-plot. Seeking distance from the active plots which Corbin was
involved in, his author created two new characters, @FelixMPastor and
@FrannyCheshire, to explore different aspects of the fictional world.
Pastor and Cheshire were subsequently dragged into the story, as well.
This piece will dig into the concept of the “readerly” and “writerly”
text as identified by Roland Barthes in S/Z and The Pleasure of the
Text and settle on a third term: “the riderly text.”Sumeya Hassan - 17.02.2015 - 15:59
-
Archiving Ephemera – The Case of Netprov; Graphic Design in Re-Presenting Electronic Literature
How will electronic literature look 100 years from now? This question is two-fold: 1) How will literary projects of 2014 that are written/performed in social media and short-lived web platforms greet the eyes of future readers? 2) what will theelectronic literature in current use by the people of the future look like to them?
In this talk I will focus on consideration of the first question and speculate briefly on some clues about the second.
“You should make it look as much like Twitter as possible!” I have already heard this admonition several times in the course of beginning to create archives for some 2013 netprov projects — Center for Twitzease Control, Tournament of la Poéstry, SpeidiShow. As a graphic designer something makes me uneasy about this. Why? Because Twitter’s graphic designers are . . . how to say this diplomatically? . . . doing their best under a lot of pressure. From a historicalgraphic design point of view, the look of those hugely popular digital applications is adequate, but definitely not optimum, not nearly as aesthetically or functionally strong as it could be.Elias Mikkelsen - 12.03.2015 - 15:07
-
Entretien avec Jean-Pierre Balpe
Entretien avec Jean-Pierre Balpe
Daniele Giampà - 27.03.2015 - 17:26
