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Learning Management Platforms: Notes on Teaching “Taroko Gorge” in a Pandemic
As an adjunct instructor during the pandemic, I am in a rather unique position to speak to the use of the Learning Management System (LMS) as a pedagogical platform (I currently teach at three different post-secondary institutions and use three different LMSs). This pandemic has clearly laid bare several of the difficulties of precarious labour in the academy, and the need to fluently navigate several disparate platforms is just one. But, I would like to use this unique position to begin to speak to the role of pedagogies of digital literature to help students develop critical digital literacies, and how the proprietary LMS might influence or impede that process.
Milosz Waskiewicz - 25.05.2021 - 14:46
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‘Lost water! Remains Scape?’: Transformation Waterscapes in Coimbatore from past to present through digital poetry
‘Lost water! Remains Scape?’: Transformation Waterscapes in Coimbatore from past to present through digital poetry
Milosz Waskiewicz - 25.05.2021 - 14:51
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Beyond Maximalism: Resolving the Novelistic Incompatibilities of Realism, Paranoia, Omniscience, and Encyclopedism through Electronic Literature.
Beyond Maximalism: Resolving the Novelistic Incompatibilities of Realism, Paranoia, Omniscience, and Encyclopedism through Electronic Literature.
Milosz Waskiewicz - 25.05.2021 - 14:55
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‘AN INTERNET BARD AT LAST!!!’: The Positive and Perverse Power of Alt-Lit Poet Steve Roggenbuck
‘In a strict sense, I don't believe there's any definition of poetry that applies to all poets. Different poets have different goals. Different poets have different things in their hearts that they’re trying to express in different ways that they want to express them. Are my videos where I'm running around in the woods talking about YOLO and dogs and dads – are these really poetry? Why call them poetry?’
These are the words of Steve Roggenbuck (https://www.youtube.com/user/steveroggenbuck), a twenty-something self-proclaimed video artist and poet who released YouTube videos from 2010 to 2017. Roggenbuck’s video poems comprised clips of his stream of consciousness, often filmed while he rolled in the grass or ran through natural scenes, screaming. Amongst random - and, frankly, weird - comments, Roggenbuck inserted motivational moments urging viewers to appreciate nature and follow their dreams. Many videos have been edited to include musical accompaniment, green screen-facilitated backgrounds, and/or additional graphics.
Milosz Waskiewicz - 25.05.2021 - 14:58
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“Let my readers go”: Freedom, the ‘post-’, electronic ‘literature’
What do Jeremy Hight’s Glacial, A Novel (whose content he has pledged to Tweet one word at a time every day between the November 2020 and June 2042), Anna Anthropy’s Queers in Love At the End of the World (a Twine romance unfolding at the eleventh minute before the apocalypse which readers are allowed to devour in just ten seconds), and Claire Dinsmore’s The Dazzle as Question (a hypermedia prose-poem about old-school artistry versus the onset of the digital with a penchant for blind(sid)ing its reader) all share in common? For one, they are narratives mediated by computer-hosted platforms and invested in wresting lection from their readers. For another, this paper will argue, they are examples of the post-literary according to a very specific and not strictly conventional definition.
Milosz Waskiewicz - 25.05.2021 - 15:04
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Executable Landscapes: Speculative Platforms for Ecological E-Literature
The contemporary digital environment is made possible through a matrix of behemoth infrastructures that traverse the orbital, atmospheric, oceanic, and terrestrial domains. These infrastructures manifest not only in the narrowly technical sense, but encompass the manufacturing chains, regulatory interfaces, and geopolitical contexts that enable (or forestall) the development, deployment, and maintenance of digital systems at a global scale.
Underpinning all these aspects are the flows of energy and materials constituting the liveable Earthly ecology. The latter comprises the ultimate baseline ‘platform’ on which specific digital platforms, as more commonly expressed, are enabled—but which, being so defined, can obscure these far larger structures and processes in which they are embedded.
Milosz Waskiewicz - 25.05.2021 - 15:09
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On the Platform’s Ruins: Practicing a Poetics of Obsolescence
Visual artists, writers, and other cultural producers have long leveraged networked technologies to establish platforms that circulate cultural products in participatory contexts intentionally distinct from cultural institutions. As technologies change over time—including deprecated plug-ins, changes to HTML, and linkrot—these platforms fall into various states of decay. In this paper, I examine an example of a platform, the Net Art Latino Database (1999-2004), an effort to document net-based artworks vulnerable to obsolescence that overall stands as a precarious monument to an earlier era of digital culture. As the platform slowly falls out of joint with current web technologies, the Database illustrates practices of cultural production that respond to the decay of the very technologies being used.
Milosz Waskiewicz - 25.05.2021 - 15:13
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Platform Collaboration, Creativity and Determinism in Virtual Reality (VR): An artist paper the making of The Key To Time, a work for VR, domes and CAVEs.
Addressing conference themes of platform utopias, determinisms, identities, collaborations and modes, this conversational presentation discusses ways that concepts of time, space and narrative are expanded in The Key To Time https://unknownterritories.org/keytotime/. The Key To Time is a surreal and lyrical work for immersive, cinematic art experiences such as domes and 360 degree cinemas as well as for individual viewing on head-mounted virtual reality devices. Bridging 1920's silent film and virtual reality, the surface story draws viewers into a playful exploration of genre, identity and desire. In doing so, the work unravels narrative underpinnings of myths, genres, and technological constructs of time.
Milosz Waskiewicz - 25.05.2021 - 15:17
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Art of the Pan-Opt-in-a-Con: FarmVille and the Gamification of the Digital Landscape [Original: The Tyranny of Completion; Or, How Electronic Art Can Engage the Firehose]
Toward the end of 2020, one of the most culturally impactful web games of all time shut down—at least, the original, Flash-based version did. FarmVille, by social game studio Zynga, was not outstanding for its gameplay mechanics nor for its imaginative qualities. In fact, social games like Farmville are defined by game designer and scholar Ian Bogost as “games you don’t have to play.” Rather, FarmVille was special because it tapped into 2009-era Facebook’s lax user-generated notification system, and its developers succeeded in creating a user-operated spam cannon disguised as a game. What made FarmVille a cultural phenomenon is best represented by the metanarrative about how it manufactured and sold compulsive behavior to a new audience. By targeting ludic luddites with its folksy facade and “freemium” business model, FarmVille ushered in a new era of games that encouraged users to exchange money for in-game effects.
Milosz Waskiewicz - 25.05.2021 - 15:20
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American Utopia - Analyzing the Far-Right politics of BioShock: Infinite and Trump's America
Video games are mirrors to our contemporary reality that reflect our society's philosophies, rhetoric, and more. Published in 2013, BioShock: Infinite offered a glimpse into the reality of a Utopian America ruled by conservative far-right identity politics. In 2016, Donald Trump's election as the 45th President of the United States brought to the forefront of America what is often ignored. In this essay, I argue what Utopia is to the far-right by analyzing the society of Columbia, the use of media in the state, and more. Overall, I argue that politics and ideas of Utopia can be simulated into video games to understand far-right narratives of Trumpian politics better.
Milosz Waskiewicz - 25.05.2021 - 15:24
