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The Precession
The Precession is a data-driven networked poem being developed simultaneously as both a large-scale installation and live performance. The work makes use of original writing and real-time data collection to create visual-poetic arrangements based on inquiries into architecture and the night sky. The piece mixes databased sources, real-time interruptions, and algorithmic composition in an evolving ecology.
The Precession considers as a primary source Oskar J.W. Hansen's sculpture Winged Figures of the Republic permanently installed at the Hoover Dam. Hansen's 1935 work commemorates the building of the dam and includes a complex celestial map. Beginning with the date of the dam's dedication, the map contains the data for someone skilled in astronomy to accurately trace the position of the polestar each subsequent night for the next 26,000 years.
The online work, in its current state of development, is mainly time-based taking approximately 20 minutes (with links to individual areas also accessible).
Eric Dean Rasmussen - 24.01.2011 - 17:46
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I am
I am is a list poem using the anaphora "I am". The text is constructed with instant search results from Twitter. The editorial process is done automatically by a filter written into the program. I am uses the Twitter Search API, jQuery and custom filtering functions to display the poem.
Maria Engberg - 30.06.2011 - 14:23
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The Talking Dead
From the project-web site: For Halloween 2010, players took on the character of a famous dead personage, as they mysteriously manifested on Halloween weekend. The festivities concluded with a ghostly ball at the spectral Cocoanut Grove Nightclub, before the party was crashed by some unwelcome guests.
Patricia Tomaszek - 11.08.2011 - 15:58
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The Good Captain
The Good Captain is an adaptation of Herman Melville’s novella “Benito Cereno.” Melville’s original story relies upon the main character’s first-person perceptions of the events that unfold in front of him. This reliance on P.O.V. is why I chose to distribute the story using the web service Twitter. Twitter limits updates to 140 characters of text, and so this story is broken up into small, 2-3 line paragraphs. The temporal nature of this storytelling method required that the story include frequent reminders of previous events, to help keep readers aware of the context of the events. This was especially important given that the time span of the bulk of the events is about twelve hours, and the length of time that the story ran for was four months.
The Good Captain began broadcasting over Twitter on November 3, 2007. It concluded on February 29, 2008.
Patricia Tomaszek - 11.08.2011 - 16:12
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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
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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
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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
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Grace, Wit and Charm
Grace, Wit and Charm
Eric Dean Rasmussen - 13.04.2012 - 09:13
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B A C K L I T
B A C K L I T seeks to invite the recombination of word and image from translocal communities of conversants on diverse e-list servers, Facebook, and Twitter. Members of list‐servers are asked to send both an image and a text of no more than 140 characters to performer, and to do so in response to thought processes/actions given rise to by the phrase "Remediating the Social". The performer will recombine those elements. The piece itself is simple, complexity will be generated by the volume of submissions.
Elisabeth Nesheim - 24.08.2012 - 13:55
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The Ballad of Workstudy Seth
This Twitter based netprov collected under a title headed by the word “ballad” provokes thought on the relation between this fictional piece and this ancient poetic form. The ballad, a form rooted in oral tradition, was often about sensational, comic, and tragic events and served as a conduit for stories from one region or time to another. With the invention of print, the broadside ballad reinforced the tradition of spreading news in poetic form. The fictional narrative of Workstudy Seth and how he took over Marino’s Twitter account was told during a 3-month period in 2009 and is compiled in a single HTML page— kind of a Web broadside. The language, though prosaic and loaded with netspeak, is governed by a 140-character per Tweet constraint, which leads to a poetic compression similar to that which governs many lines of verse. Sure, its meter isn’t governed by number of accents, syllables, or feet but it does have a shape, which leads to distinct ways to unfold the story. Read each distinct voice as it shifts from one character to another and enjoy how the mischievous Seth refuses to be silenced.
(Source: Leonardo Flores)
Helene Helgeland - 29.10.2012 - 14:56
