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1. 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

2. 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

3. 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

4. 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

5. Corpus et interfaces: comment penser le partage du sens

   Cet article présente la plateforme #Idéo2017 (http://ideo2017.ensea.fr/plateforme/), qui répond au besoin sociétal d’une meilleure compréhension des événements sociaux, politiques, culturels. Les réseaux sociaux font de plus en plus partie du quotidien, notamment en ce qui concerne la « consommation » de l’information (Mercier, 2014). Le service de microblogging Twitter peut être considéré comme un indicateur pour connaître les réactions de ses utilisateurs sur des sujets sociaux (Longhi et Saigh, 2016 à sur la réforme du statut des intermittents), politiques (Longhi, 2014 ; Conover et al., 2011), économiques, etc. Par conséquent, on peut utiliser ces données textuelles pour extraire les émotions, les sentiments, les opinions, des utilisateurs (Kristen et Dan, 2016). Si des travaux universitaires ou industriels existent, les résultats sont difficilement accessibles pour les citoyens intéressés par ce thème.

   Amirah Mahomed - 29.08.2018 - 15:33

6. "Writing To Cope": Anti-Shipping Rhetoric in Media Fandom

   Hannibal, a drama series which aired on NBC from 2014-2017, experienced an unexpected revival when the show was released for streaming on Netflix in 2020. New fans, many of whom had been too young for the show when it first aired, brought with them a disdain for “problematic” content—ironic given the show itself’s over-the-top engagement with subjects like murder, emotional abuse, and cannibalism. A public incident on Twitter involving series creator Bryan Fuller provoked the ire of these new fans, who perceived an immoral betrayal in his vehement disapproval of “anti-shipping” culture.

   Daniel Johannes Flaten Rosnes - 24.05.2021 - 19:07