Search
The search found 21 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
-
The Broken Mirror: Paradigms of Subjectivity in Digital Writing and Informatic Culture
Advancements in social/participatory media and electronic networking technologies help bring to focus the complex interplay between aesthetics and politics common to all modern community interaction. Historically speaking, few other media formats have transformed social frameworks as acutely as contemporary online networks have. On one level, the diverse communities and social aggregates derived from such technologies seem to follow many of modernity’s more radical ideological critiques of what the philosopher Robert P. Pippen identifies specifically as “bourgeois subjectivity,” re-imagining voice and identity as collective formations to be culled from the cultural and political margins of the state. Distinct, however, from these prior revisionary challenges to cultural and social production, digital “network relations,” with their emphases on convergence over conflict, performance over practice, critically re-situate the traditional modern dialectic between individual and collective modes of agency that has dominated ideologico-political argument for the past century.
Audun Andreassen - 03.04.2013 - 15:05
-
Oral Traditions and Electronic Ambitions: The Trajectory of Flight Paths in a Plugged-In World
Janet Murray writes, “The kaleidoscopic powers the computer offers us…might also lead to compelling narratives that capture our new situation as citizens of a global community. The media explosion of the past one hundred years has brought us face-to-face with particular individuals around the world without telling us how to connect with them” (282). This assertion points to the transforming effects digital media are now having on the ways that we experience representational arts following the advent of digital technology, and points to some of the potential setbacks that Internet-based narrative might embody. This paper will investigate these implications as they relate to narrative trajectory and possibility through analysis of Kate Pullinger and Chris Joseph’s networked novel Flight Paths (2009).
Audun Andreassen - 10.04.2013 - 12:42
-
Pedestrionics: Meme Culture, Alienation Capital, and Gestic Play
This presentation considers the rhetoric and poetics of meme culture and social media
platforms.Internet memes, in their essence, are methods of expression born from the attention
economy of networked culture. At times they can be epistolary, aphoristic, polemic,
satirical, or parodic; and they may take the form of performative actions and photo fads
such as planking, teapotting and batmanning or iterative processes such as image macros
and advice animals including lolcats, Bad Luck Brian and Condescending Wonka. In either
case they are conditioned by rhetorical formulas with strict grammars and styles.
In the case of image macros, the rhetoric is sustained through correlations between the
image and its caption. If we line-up the thousands of Condescending Wonka memes side
by side, we will find very little difference between them aesthetically – the same image is
repeated, along with captions at the top and bottom of the image. In the captions we find
a specific tone that is also repeated one image to the next.Thor Baukhol Madsen - 12.02.2015 - 15:12
-
Revisiting the Spam Folder: Using 419-fiction for Interactive Storytelling. A Practical Introduction
This workshop will be offering the participants both a theoretical and practical introduction to interactive narratives in "419-fictional environments" created by scammers and scambaiters. We seek to understand different sides of online fraud and through creative storytelling reflect on issues like online privacy, virtual representation and trust within networks. We also draw parallels to other practices and cultures like: gaming, transmedia storytelling or creative activism. Through a participants take the first steps of creating their fictional characters and infiltrating a scammers storyworld to observe and interrupt their workflow.
We explore how persuasive narratives are setup, how characters are designed and how dialog is exchanged to build trust between the acting parties. We will use social media and various content generators and other tools to orchestrate internet fiction, creating entrance points to a story world and spreading traces of information online. By reflecting on scam bait experiences we enter a discussion around the topic of interactive narration connecting to the participants' and their general work in this field.
Hannah Ackermans - 29.10.2015 - 15:44
-
What Comes After Electronic Literature?
Five minute lightning talks addressing the question: What comes after electronic literature?
Steven Wingate: eLit and the Borg: the challenges of mainstreaming and commercialization
Leonardo Flores: Time Capsules for True Digital Natives
Maya Zalbidea, Xiana Sotelo and Augustine Abila: The Feminist Ends of Electronic Literature
Mark Sample: Bad Data for a Broken World
José Molina: Translating E-poetry: Still Avant-Garde
Daria Petrova and Natalia Fedorova: 101 mediapoetry lab
Judd Morrissey: Turesias (Odds of Ends)
Jose Aburto: Post Digital Interactive Poetry: The End of Electronic Interfaces
Andrew Klobucar: Measure for Measure: Moving from Narratives to Timelines in Social Media Networking
David Clark: The End of Endings
Damon Baker: "HAPPINESS FOR EVERYBODY, FREE, AND NO ONE WILL GO AWAY UNSATISFIED!": New Developments in the CaveWriting Hypertext Editing System(source: ELO 2015 conference catalog)
Hannah Ackermans - 31.10.2015 - 11:31
-
Electronic Literature as Action and Event: Participatory Culture and “The Literary”
ractices of public and performative electronic writing connect our arts movement to important sites of social transformation, beginning with the resistance to neoliberalism in government and academia, and potentially touching larger questions about relations of mass and elite culture.
This panel comprises three papers, two by creator/conveners of participatory projects, the third by an interested theorist. The creators offer reflections on the meaning of participatory engagement based on their own experiences with the form. The theory paper adds some more abstract reflections addressing questions of general concern to electronic literature as a cultural movement.
Electronic Literature and the Public Literary
Stuart Moulthrop (University of Wisconsin-Milwaukee)Hannah Ackermans - 14.11.2015 - 15:16
-
Literature Beyond the Text: Vliterature, Towards a Post-textual Literature?
Moving from writing to amateur video could not have happened without the easily available technology and the web and social media that enable the author to circulate their work without needing a heavy infrastructure. In this sense, and with the underlying open attitude to the concept of the literary and modes of publication, this new ‘vliterature’ is fundamentally governed by the logic of the internet. At the same time, in addition to being inspired by filmmakers’ diaries and experimental short film, it can also be seen as a return to an older form of literature, the tradition of orality. This paper proposes to discuss the context in which this trend has emerged and the various practices it has engendered, with a focus on the modes of presence of what can be considered to be ‘literary’ practices and artefacts in such ‘writerly videos’ or vliterature.
Hannah Ackermans - 08.12.2016 - 14:45
-
A Narrative Analysis of the Use of Social Media in SKAM
SKAM (a Norwegian word meaning “shame”) is a Norwegian television show for teens, written and directed by Julie Andem for NRK, and had its fourth and final season in spring 2017. Each season, the show followed a different teen in an Oslo high school, and it has dealt with topics such as sexual harassment, mental illness, same-sex-relationships, drug use and Islamophobia.
This presentation analyses how the popular Norwegian show SKAM used social media as its main narrative platform. The paper uses narratology as well as contemporary theories of distributed narrative (Walker, 2005) and transmedia narrative (Dena, 2009; Ryan, 2013) to analyse how SKAM develops storylines across multiple media. It will compare this to works of electronic literature that have pioneered similar techniques, and relate the intense engagement of fans on the official site and independent sites to fan fiction studies and to net prov.
Jill Walker Rettberg - 31.10.2017 - 15:41
-
Interview with Judy Malloy
Judy Malloy is a pioneer in the field of electronic literature. As she writes in this interview, she wrote the first hyperfiction in 1986 called “Uncle Rogers” a series of works of hypernarratives for Eastgate Systems, the first hypertext publishing house founded in 1982 in Watertown, Massachusetts (USA). The interview is a resume of her work as an author and visiting lecturer at Princeton University that still goes on as her latest publication in 2016 can prove.
Daniele Giampà - 07.04.2018 - 16:59
