Diving Back In~

“‘…there is no story at all; there are only readings’ (124)”.

I don’t know why WordPress is throwing my links all over the page like this. I had to cut a bunch of links to make the post remotely legible. I’ve tried many different things to fix the problem and I think it’s just a system error for the time being. Believe me, I’m annoyed about it too >.>

Flux & Flow

So…. I’m back at it again.

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Doing the ELit thing, writing the feelings whatever those are down, being “insightful”… You know, the usual.

Anyway, let’s get down to business.

I don’t remember what I thought of Jessica Pressman’s “Navigating Electronic Literature” the first time I read it eons and eons ago but this time around, I found it to be thought-provoking, informative, and intellectually engaging. The article articulates the challenges and nuances of interacting with ELit, especially in a classroom setting, rather well. In my experience, I’ve found just articulating what ELit can be and what it can do to be a challenge in and of itself. So, kudos Jessica~

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Pressman’s emphasis on navigation in ELit texts, too, I found particularly deft. Having a wonderful wealth of experience interacting with ELit–even creating my own work!–myself, I know how integral to a work its navigation can be–but, also, how much confusion a work’s navigation can create. More than that, I know how a work’s navigation can complicate reader/interactor understanding of literary purpose and overall merit.

If anything, this time around, I was most interested in the points Pressman was making about problems of conceptualizing, or, really, re-conceptualizing storytelling and authorship when it comes to ELit. Do affordances such as hyperlinking allow readers enough agency to make them co-authors of an ELit work, like Landow suggests? Or, are readers merely explorers of a work, trying to uncover all avenues of story rather than decide them? More, to what extent do readers decide meaning in works like this? Can an inherent meaning be embedded/programmed in these works anymore than meaning can be imbued in a written text? Or, is meaning ultimately decided by the reader?

Are there any stories at all in Elit? Or, is it all just readings?

I don’t have any answers and I love it.

The experimental, the uncertainty, the trans-formative, the de-contextualized, the room for possibility—is what I love about ELit. To me, it is the curiosity and the search for discovery and meaning-making that ELit spurs that makes ELit literary/a literary experience. The literariness exists in what we are given/in what we receive from a work, the questions it generates and the challenges it creates and asks us to tackle.

While I think the binary–stories/readings–is apt in some ways for describing differences between ELit and traditional literature, forgetting that there are readers behind both– story and reading–neglects a vital aspect of understanding new forms of digital literature and media. The underlying depth to ELit, I believe, is something that has to be realized in the reader.

Underlying Depth

And sometimes the nights last for months

And sometimes the nights last for months… Maria Guia Pimpao (I have the Google Arts & Culture extension on my browser which allows a new work of art to be the background whenever I open a new tab. When I opened a new tab to open Twelve Blue, this was the image that popped up and I thought it was rather appropriate, considering the work I was about to read, and so I wanted to share it with you~ #theinternetworksinmysteriousways

“So a random set of meanings has softly gathered around the word the way lint collects. The mind does that.” from On Being Blue William Gass

In my opinion, Michael Joyce’s Twelve Blue is one of those powerful works of ELit. Like, it’s a seminal work for a reason not just that it was the first work of Elit. I think I forgot that until I “reread” it this weekend.

The work is a piece of “simple”, hyperlink fiction, progression through the work and its lexia triggered by the reader clicking on one link or “thread” to open a new window with new lexia and so on. Readers aren’t really given a set story or direction–there are no guiding signs or whatnot (other than a “Begin” button when one first opens the work).

Here are the first few “pages” I read:

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Instead of clicking “all over” the threads, which I know from prior experience with the work would take me on all kinds of adventures, I decided to click on the links provided from one page to the next–just to see where the story goes, trying for a “pure reading”, so to speak. This went well…till I came across just a screen with a painting on it??? I had to click on the painting and, the next screen I got, didn’t have a link to click on??? So, I had to dive into the sea of threads anyway #whatever~~~~

But, it was interesting to just see where the work would take me (not purely on its own–as I was clicking on the agents spurring the story forward). I read a few excerpts about Lisle and her daughter and then about Javier(?) and his daughter. Nothing that really connected in any linear way. It’s clear from the text, though, that this “story” is taking place across multiple time periods and generations. I read about an accidental drowning that took place years ago and then I read a selection about the friend of the girlfriend, who’s boyfriend drowned, and how this friend remembered the somber atmosphere at school in the days following the mysterious accident. No clear time line is established and yet, the sense of time passing and moving, the sense of people holding on and letting go of time, is so vivid and so visceral. (“What choice do we have but love, what season after?”)

The design and navigation of this work is a topic of discussion that could–and will–continue for a while but the actual text of this work is so rich and fascinating in its own right. Small example but, I mean, how many creative and inventive uses of the word blue did you note while reading this work??? (“She had never been lonelier, never more blue.”) And did you notice each page is titled differently–mostly related to blue words, though–in the tab?? (i.e cornflower)

A strong swimmer out of grief

“She became a strong swimmer out of grief.” This page, in particular, touched me. The longing and sorrow are somehow enhanced that much more my this work’s infinite loop, like there’s always this girl on the edge of the ocean, longing for the mother she never knew.

There’s something distinctly literary about this work’s text, if not its nonlinear navigation. To me, though, if anything, the infinite looping in on itself of this work only serves to enhance the story it is “weaving”/telling. Each page is like a still life, perhaps disconnected from some greater whole, but capable of telling a compelling story in and of itself. For some, that disconnectedness may translate as “brokenness”, the lack of coherence or persistence of narrative over time, as a fault, but, again, I find the questions that exist in those perceived narrative “gaps” in works of ELit like Twelve Blue to be what keeps me coming back. Though, of course, I want answers, I also enjoy not knowing. It creates this mental space for me to explore possibilities–something not always offered IRL, where “pinning things down” is so highly valued these days.

Additionally, I think Twelve Blue gives readers a slight taste of the reciprocity ELit is renown for. (At least, it’s one of my fave parts of ELit.) This reciprocity is realized in the simple act of the readers clicking a link on the screen and being rewarded with a new screen, with new information. The work functions on reader input–slight reader input but still an action the reader must take in order for the work to “move on”. That’s a smidge more agency than most traditional forms of literature have been able to allow for a long time.

Riding the Waves

All in all, if you couldn’t tell, I’m looking forward to diving back into ELit and discovering new ways to tell compelling stories through new digital media. I think Twelve Blue is an excellent place to wade in with. It’s new in many ways but also recognizable in others. And, of course, the work is so beautifully, heart-breakingly, heart-achingly written.

I hope the rest of our class is at least half-excited as I am looking forward to diving in deep on ELit!

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Links

Hypothes.is

*Feel free to check out some of my notes on this week’s article and respond to them if anything I’ve said resonates or triggers another idea~ Though I’ve been resistant in the past to using hypothes.is, lately, I’ve found it to be a good tool for taking notes maybe I just don’t like being told I have to use it and now that I don’t have to use it, I’ve got to rebel in the other direction????

Tweet tweet…

*Feel free to follow me on Twitter as well~ In between sharing sappy poetry and prose, I sometimes say some witty things??? #debatable??? #claimthecave

~Till next time ^.^~

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Hopeful Monster: Exploring an ELit Frankenstein of Hypertext & Kinetic Poetry~

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This week, we’ve finally begun our much-anticipated exploration of Elit. (Perhaps, it’s only much-anticipated on my end though…?)

Delving into Elit ❤

As I may have mentioned before, I’ve taken a few courses already on ELiterature and networked narratives. And so, I’ve already developed a bit of a soft spot for the genre. I find the experimentation and spontaneity and interactivity of Elit to be engaging in a way that is not better than traditional literature but that allows for more of my senses to be involved in the experience of the work. It’s different. Especially when it comes to poetry and prose shared in this genre, I find something special and almost magickal about the work.

I’ve often heard criticism that digital work–writing and art, particularly–are somehow less meaningful for their “digital-ness.” Like, because a work is made to be experienced through a digital interface, it is somehow inherently less capable of  conveying meaning or initiating meaningful dialogue. Or, more simply, it’s just less.

That line of thinking couldn’t be farther from my own. More, it couldn’t be farther from the truth of my own experience of both interacting with works of Elit and with making my own work of Elit.

Two particular works of Elit that come to mind when I think of ones that have touched me are Jason Nelson’s This is How You Will Die and Porpentine’s With Those We Love Alive. I mentioned Nelson’s work earlier when discussing Dada in new digital media and have written at length about this particular work. Nelson’s work is a kind of kinetic poetry with a dash of generative fiction thrown in. As for Porpentine’s work, I went into great detail about my thoughts on this piece here.  The “story” is a work of hypertext fiction created using Twine (a platform of which I’m not so much a fan myself but that seems to work amazingly for other people) and it is an absolutely beautiful work. I love everything about it from the diction used to the background sounds and the colours. Read my full review of it if you want but I found this work of Elit to be a particularly poignant articulation and exploration of experiencing trauma and moving on from it. (*Fun fact, this work was on display at the Whitney Museum’s 2017 Biennial exhibit and I got to see it~)

Revisiting EPoetry and Prose ❤

For this week, I decided to explore another work of EPoetry/Prose from the 3rd volume of the Elit collection. The work I chose is Ask Me for the Moon by John David Zuern. It is a work of kinetic poetry. The lines of the poetry in the piece ebb and flow into each other likes waves on the shore of a beach.

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*The work starts with one line of poetry that overlaps and fades until it becomes the horizon for a slowly increasing cityscape–that of Waikīkī, this work being set in Hawaii.

Once you enter the work–by clicking on the screen in order to “ask me for the moon”–there are also missing spaces in some of the lines and particular quoted phrases in some of the lines too. These differences in the lines are filled in by excerpts from related works once the poem finishes ebbing and flowing out and from the screen. The poem will fade into the background and either the quoted phrase or the blank space will be emphasized as an excerpt from another work fades in on the screen.

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The contents of the introduced excerpts revolve around the colonization and industrialization of Hawaii. More, around the commodification of the islands’ themselves, their natural resources, and the natives’ culture. The seen vs. the unseen is also invoked by this piece as the images one clicks to engage with the poetry are of different kinds of labor and work–the line of these images cutting across a beach scene at night. In the editorial statement for this work, these decisions are described as such:

“John David Zuern’s Ask Me For the Moon is a digital poem created in Adobe Flash using juxtaposed images, words, and sounds, to create the feeling of the labor behind the scenes at a Hawaii resort. The images and colors (black, white, and turquoise dominate) paint a picture of Waikiki that is emphasized in Zuern’s notes on the piece, which observe that at the time the piece was made there was approximately one worker for every two and a half visitors to Waikiki. The text of the piece plays over the faded gray landscape of the island, while the moving pictures depict fragments of labor moving through like waves along the shore. The visual poetics serve as a poignant reminder of how much work is done at night, out of sight of the tourists who swarm the island.”

Zuern says of his own work, “I was looking for a way to bring concrete details of my experience of working in Waikīkī into some kind of dialogue with what I was learning about the history and politics of the tourism industry in Hawai‘i. I wanted the poetry to quote but also, in a sense, to inhabit and illuminate the writing of philosophers and critics, calling attention to their own deployment of image and metaphor. At the time, it seemed important to keep the file size as small as possible, and notions of compression and constraint wound up governing many of my formal considerations, including my decision to write in haiku, to employ a somewhat restricted vocabulary and palette, and to include small images with minimal animation.”

For his purposes, I think Zuern’s work becomes a compelling commentary. At first, I was thrown off by the constrained format and the minimal amount of direction/interactivity of the work but once I realized the scope of the content of the work, I began to appreciate the aesthetic and technical decisions of the work. It’s definitely more simple than many other contemporary works of Elit but I think that simplicity makes a statement about what is being lost. In that way, I think this work transcends itself.

What do you think, though? More, what do you feel when engaging with this work? Do you feel the loss, the longing for a return to something simpler? Or, do you feel something else?

On Making Our Own Elit

If we are making our own works of Elit, I’m definitely interested in making a work of EPoetry/Prose. So far, I’ve translated my poetry into metalworks (which is a process, let me tell you) but I would like to expand into Elit with it. The work of Elit I created before was one of prose and so I would definitely like to expand upon what I can do with Elit and the medium.

That said, I would like to express concern with the time-frame for creating this Elit piece–if we are. I had an entire semester to work on the other piece of Elit I made and during that semester I was learning how to use many different kinds of tools and whatnot to create my piece. It was a whole, long process. And, even then, it was still a struggle to create the work I did due to how long it takes to do anything/translate anything it seems into a digital format as well as how overall challenging and strenuous it can be. There were many, many ideas and drafts scrapped along the way.

Anyway, I guess I just want to both inform, maybe, expectations as well as ask for a clearer understanding of what will be expected of us if we are making a work of Elit.

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Links

Twit 1 & Twit 2

Goodies

Porpentine’s Twitter

Bots & Whatnot~

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Beep-Beep-Boo-Bot: Revisiting Bots

So, at this point in my exploration of the digital humanities, I’m not unfamiliar with bots. In fact, I’ve written about them at length before. More, I’ve written about the ethics or lack thereof of bots here.

This isn’t to say that I’ve, by any means, said all there is to say about bots, just that I have thought about them and their functions in detail before. And, more, as far as interacting with and creating bots, this isn’t my first rodeo.

Anyway, that disclosed, let’s get to this week’s activities!

First, after discussing what a bot is for those who are unfamiliar with them, we explored some different bots on Twitter. I decided to check out some of the bots mentioned in this article by Lainna Fader. Since I already do follow a lot of bots (mostly sappy poetry ones #itswhoiamasapersonsorrynotsorry), I wanted to check out some ones that come highly recommended~

Two of my favorites were the @420worldclock bot and the @wikisext bot. Totally nsfw but pretty Great~ @420worldclock seems to co-opt the the adage I’m writing this at 4:20pm AHHHHH btw~ “It’s always happy hour somewhere” to “It’s 4:20 somewhere” and tweet out about that.

Meanwhile, @wikisext is pretty self-explanatory, no???

Personally, I think this bot gives Great advice >.< Totally recommend checking out for yourself~ (if it’s your cup of tea)

After interacting with and exploring a few bots, next, we put our newly-found bot prowess to the test to see if we could differentiate between bot poetry and, you know, traditional poetry. Not as easy as it sounds???

Check it:

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For the most part, I was able to identify Poe, Dickinson, Neruda, some Keats, and some Blake but, in my opinion, including e.e. cummings was just unfair >.> I mean, have you read his work??? Come on!

There were also some really Great works that totally should be famous poems. Like, look at this:

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Genius. Absolutely Great.

…Anyway, moving on~

I found it interesting to see just how similar some bot-generated poetry could be to works written by people. For some of the works, it was easily to spot the thing that made the poetry come alive. That human hand. But, for a surprising number, it was rather difficult to identify them as bot-generated. I’m not sure what that implicates for the future of the medium and of technology but it’s certainly interesting.

Revisiting Making Bots

After exploring the medium and discussing some of the functions and applications of bots, both positive and nefarious, we got to the crux of the matter: making our bots.

Now, as I mentioned, I’ve already made a bot. This pesky, circle-talking faerie… (she talks a little very-scary but don’t worry too much~ she’s harmless ^.^)

So, I didn’t really experience much difficulty in the process of creating one. It took me some time to come up with a format for the things I wanted the bot to say, though. I got a topic I wasn’t overly enthused with discussing thank Alan. So, that took some time to develop. I came up with some Great hashtags, though, in my opinion… #zuckers, #zuckit, #zuckoff…. I mean, come on–those are Great ^.^

I didn’t really get much interaction with my bot-generated content, though. One person outside of the #netnarr scope did like a tweet, which was marginally exciting:

Aside from that interaction, the most I got on my tweets was a comment here:

and a retweet here:

along with a few likes here and there as well~

I’d say some of my replies to some tweets got more interaction. For example, this thread:

It generated some interaction amongst multiple users in the #netnarr sphere, at least. Other than that, I mostly felt like I was having one-sided conversations with other users~ (which, isn’t really all that different from most conversations I’ve had with other Twitter accounts tbh~ in my experience, most aren’t super responsive to comments??).

Don’t think I really influenced anyone all that much with my tweets but maybe some targeted hashtags could change that?? I’m not interested in keeping this bot running past this week, though. I like my personal account to be more organic~

I mean, look at the difference in my bot-reading that only a few days made:

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Added a few of my accounts for comparison~

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My bot-rating jumped from 29% before using bot-generated content to 41% after incorporating only a few days worth of bot-generated content. It’s kind of odd that it’s the same percentage though as my other account, @hellsskell24, which has never had any bot content on it. And, to be honest, I kind of expected my actual bot account, @noxsiog, to have a higher bot-rating. I mean, it is a bot.

Anyway, I thought this was an interesting experience. I wish we could have generated more discussion within the #netnarr thread, at least, but I still like this approach to teaching bots. It’s interactive and creative~

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Links

Twit 1 & Twit 2

Killing It: Some spooky/creepy/disturbing little stories I wrote inspired by bot prompts/nonsense #shamelessselfpromotion

Goodies

Some bots I highly recommend following:

@DothTheDoth

@SICKOFWOLVES

*I mean, this is Great.

@DarkRothko

@s8n

~Till Next Time~