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  1. RAW (Reading and Writing) New Media

    RAW New Media builds on the first decade of work in new media research within English studies, following (and also breaking from) the longer history of hypertext theory. The book defines new media only in as much as the individual chapters do so, setting the field as materially rich, ever-changing and remediating itself, and kairotic. What is “new” has no fixed boundaries. Because new media is constantly changing, it must be constantly historicized, theorized, and situated within cultural and social (as well as time-based and spatial) contexts.

    Scott Rettberg - 30.10.2011 - 20:26

  2. Reading, Writing, and Teaching Creative Hypertext: A Genre-Based Pedagogy

    The present essay contributes a genre-based pedagogy, until now only hinted at by hypertext theorists and not imported into the domain of hypertext by genre theorists. While I focus on creative hypertexts—autobiographies and popular genres like soap operas and road trip stories—a genre-based pedagogy can also be used to guide students through the production of informational, academic, community or club Web sites, personal home pages, and whatever blurred or evolving genres students are inspired by and see fit to explore.

    I advance a genre-based pedagogy for teaching the reading and writing of creative hypertext to enable teachers of hypertext to start from what they know and to provide them and their students with concrete terms and models. Such a pedagogy, especially if informed by recent scholarship on genre's flexible and rhetorical nature, requires students to make various choices not only about form but about compositional concerns: tone, diction, prose style, character development, plot, setting, visual design, and hypertext navigation strategies. (Source: from actual paper)

    Jill Walker Rettberg - 01.11.2011 - 12:22

  3. Writing to be Found and Writing Readers

    Poetic writing for programmable and network media seems to have been captivated by the affordances of new media and questions of whether or not and if so, how certain novel, media-constituted properties and methods of literary objects require us to reassess and reconfigure the literary itself. What if we shift our attention decidedly to practices, processes, procedures — towards ways of writing and ways of reading rather than dwelling on either textual artifacts themselves (even time-based literary objects) or the concepts underpinning objects-as-artifact? What else can we do, given that we must now write on, for, and with the net which is itself no object but a seething mass of manifold processes?

    Eric Dean Rasmussen - 01.12.2011 - 10:59

  4. The trAce Experience

    trAce, an online organization located at Nottingham Trent University, UK, offers educational and cultural opportunities for writers. We will be presenting and discussing some of the products related to that process.

    Janet Holmes, Boise State University (USA)
    "The trAce Experience: 'The Ballad of Sand and Harry Soot'"

    Marjorie C. Luesebrink, Irvine Valley College (USA)
    "The trAce Experience: Collaborative Aspects of Fibonacci's Daughter"

    Christy Sheffield Sanford, trAce (USA)
    "The trAce Experience: Virtual Writer-in-Residence - Creating a New Profession"

    Sue Thomas, Nottingham Trent University (UK)
    "The trAce Experience: Connecting Writers in Real and Virtual Space"

    Scott Rettberg - 19.01.2013 - 16:29

  5. A novella app (Interview with Samantha Gorman)

    A novella app (Interview with Samantha Gorman)

    Scott Rettberg - 12.02.2013 - 15:34

  6. From the Digital to the Bookbound

    Dear Reader: How are you reading these words? On which device? Through which interface? Can you read the source code of this web ‘page’? Can you re-write it? Why does it matter? We have machines for that, we have apps! In Reading Writing Interfaces: From the Digital to the Bookbound Lori Emerson sets out to demystify the wondrous devices of our digital age by interrogating both the limits and the creative possibilities of a wide range of reading and writing interfaces. For Emerson, interface is an open-ended term – a threshold, a point of interaction between human and hardware, between hardware and software, between reader and writer, and between human-authored writing and the vast corpus of machine-based text relentlessly reading and writing itself behind the surface of the screen.

    J. R. Carpenter - 09.08.2014 - 16:06

  7. A NOTE FROM THE EDITORS (Fall 2018)

    When you consider that writing as a form hasn’t really changed all that much since The Epic of Gilgamesh, some 4,000 years ago, what’s occurring in the world of new media becomes that much more impressive. Digital writing is already able to do things that authors aspired towards for years; incorporating visuals, music, and sound, as well as interacting directly with audience. In this issue we’ve tried to put forth work that exemplifies the wide range new media is capable of.

    (Source: https://www.cddc.vt.edu/journals/newriver/18Fall/editor.html)

    Lucila Mayol Pohl - 17.10.2020 - 13:18

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