Assembling the Story from the Pieces…

There are many stories in the Valley

Judy Malloy’s Uncle Roger is a work of hypertext fiction that explores the nature of love, relationships, family, business, class, and, ultimately, storytelling in a disjointed but compellingly, collage-like way. Uncle Roger consists of three different story files, A Party in Woodside, The Blue Notebook, and Terminals. This small collection of storie revolves around the early days of the Silicon Valley tech industry and people involved in the burgeoning industry. For this review, I explored A Party in Woodside. This story file is “a dream-like memory of a party of CEOs viewed from the perspective of the babysitter”. In the work, readers navigate the interface via selecting different keyword text nodes identified with words like “jenny” and “dreams and nightmares”.

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Clicking on a node takes readers from one strong of prose/poetry/lexia to another. Similarly to Michael Joyce’s Twelve BlueUncle Roger consists of many narratives that loop back in on each other and weave different tales as the narrative threads come together. Readers create the story as they explore the work further, each node revealing a new piece of the story. That said, definitive closure is never fully reached in this work. Instead, the story seems designed to be an infinite fever dream of clinking glasses, shady deals, and illicit affairs (and lurking felines, of course ^.^)~

Personally, I found the narrative aspect of this piece to be what really drew me in. Following Jenny’s thread, especially, captured my attention. I thought her story about navigating this new Silicon Valley world and the characters that inhabit it mirrored the act of readers navigating the work itself and its many nodes. Also, on a personal level, I found Jenny’s struggles and dreams and nightmares to be quite relatable. “God was a sort of long, dark man who hovered horizontally over me and had no face” and “It was dream. I am only writing what happened in a dream” are only two of many lines that struck a chord with me.

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Though humorous at times, I think there is a serious and mysterious atmosphere to this work that invites readers to engage deeply and thoughtfully with the work in personal ways . Also, I believe it invites readers to meditate on the disjointed nature of reality and storytelling. Often, like in Davis’ Pieces of Herself, our realities are the stories we tell ourselves and these stories consist of many pieces woven together. The final product is not always for us to see so much as for others to view and consume.

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Additionally, I think the design of this work is quite compelling. Again, it is another Elit piece whose design, like that of Ankerson and Sapnar’s Cruising, reinforces its content. Uncle Roger loops in on itself, readers often having to revisit multiple pages before they can progress further into the narrative. This looping quality seems to reinforce that dream-like quality of the work as well as the recursive nature of life and experience itself. Memory, like dream, is often subject to constant revisiting and worrying over. Both memory and dream are, also, stories that we tell ourselves.

Overall, I found Malloy’s Uncle Roger to be a compelling work of Elit whose content and design invite readers to consider their own preconceptions of storytelling as well as explore the complex nature of storytelling to life experience. That this story seems designed to never come to any closure I believe only further reinforces the content as well as the message that reality is recursive and wholly complex. The pieces may always be disjointed up close, an assemblage only once new perspective has been gained.

Sources

“Uncle Roger, File 1: A Party in Woodside” by Judy Malloy

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Update

I have continued to work on my Elit piece in Thinglink. So far, I have about half of the work done, by my estimate. The design and layout of the work is basically done. Currently, I am in the process of inputting text and information into the work. I want to play around with incorporating images and possibly audio this weekend.

~Till next time~

 

 

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*Spoiler* Icarus Doesn’t Die in this One…

Shocking

In Daniel Merlin Goodbrey’s Icarus Needs, users get to go on a “hypercomic adventure” as they try to wake up “everyone’s favorite mentally unhinged cartoonist, Icarus Creeps”. The premise of this work is that Icarus fell asleep while playing video games and has somehow ended up in a surreal, cartoon-esque dreamscape ruled by a squirrel king??? Icarus needs to find a way out of this nightmare while rescuing his girlfriend, Kit, and defeating a very squirrely squirrel king. Users play as the main character, Icarus, and can control his movements through the story via the arrow keys. as users move through the game, they encounter minor obstacles they must overcome in order to progress. Often, solving these puzzles involves going backwards in the game to locate some kind of item like a key or some apples or a crown from a locked chest at the bottom of a “royal bath” for which bolt cutters will need to be located. This game is designed to look like a kind of De Stijl comic strip, making use of strong blocks of primary colours as well as simple shapes and lines. Users “jump” from one comic panel to the next using arrow keys. Additionally, Icarus expresses a kind of sardonic, almost nihilistic, wit which imbues this work with a strong sense of so-called “Millennial humor” which could also be classified as a kind of Neo-Dada revival.

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Like come on I could see this as a Twitter post, 3k retweets easy

To be honest, I was not expecting to enjoy this work. Despite my deep appreciation for Elit and new forms of digital content creation, I’m not the biggest fan of “game” works or works that could be classified within the video game genre. It’s not that I don’t believe these kinds of works can tell a compelling story–far from it–but I tend to find that I am, well, bad at them. Video games are not my forte. So, anything that vaguely resembles a video game is usually moved far down on my list.

Anyway, that said, I found myself drawn in by Icarus Needs. Almost immediately, I was intrigued by the premise. (Icarus being trapped in a dream-world brought to mind surrealist interpretations of dreams, automatism, etc. and so connected this work to art from the start.) Also, I found Icarus’ dialogue to be witty, relatable, and so engaging. I loved the running dry commentary and self-awareness (“It’s a long way down” “At least six panels”) of the character.

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I would say most of Icarus’ speech as well as this work’s story line has a strong postmodern, Millennial sensibility to it. There’s this humorous self-awareness of ridiculous circumstances on both Icarus’ and Kit’s parts that I believe plants the work firmly in Millennial territory. Like, I feel younger generations more than older generations would appreciate this work.

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Reminds me of “screaming into the void” posts on popular social media websites like Tumblr, Twitter, etc.

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“Breaking the fourth wall” is another component of this work, in addition to the art style, simple interface design, and text, that I found to be compelling. Not only would Icarus mention the panel bounds of the work, there were also ample mentions/references to flying and falling which seem to reference the myth of Icarus.

Icarus No

These references to the myth, within the context of this work, I would classify as a kind of “breaking of the IRL fourth wall”. It’s an element that is asking readers to step outside of the context of one story and recall the contents of another story. It’s interesting, also, that the whole premise of this work is based around Icarus falling asleep under inconvenient circumstances.

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What really makes this work Neo-Dada-esque for me, though, is the ending. The work just kind of nonchalantly ends with Kit finding Icarus knocked out on the couch and waking him up. It’s one of those “it was all a dream” endings, leaving users to wonder about the nonsensical journey they just went on. I feel like users are left wondering, “Well, what was the point?”

But, that is the point–there is no point.

Traditional Dada an its following iterations can be viewed as a kind of celebration of absurdity, of nonsense, and of pointlessness. The meaning is that there is no meaning. I think Icarus Needs plays off of this sensibility and, really, makes a game out of it. In this way, this work subverts traditional gaming narratives. There are no high-scores or rewards and there is no closure. Yet, I find this work, as a game, is still entertaining and engaging for users. This is accomplished through design and dialogue and, I believe, riffing off of Millennial humor and sense. But, that’s just my opinion.

What do you think????

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~Find me #suffering on the Twitter till next time~

Putting the Pieces Together…???

“Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE.” ~ Tristan Tzara

Uncovering the Story

The story I want to tell is one I’ve been assembling the pieces of for a while now. Ever since my first interactions with ELit, specifically with works by Jason Nelson, Juliet Davis, and Porpentine, I feel like there has been this story developing. Between then and now, that tale has existed in a kind of in medias res state, waiting to be fully realized.

In my latest post in my suffering saga on my thesis blog, I went into detail about the design of the kind of ELit work I would like to make. Mainly, I want readers to be able to explore the complexity, mutability, and often contradictory nature of self-representation and aesthetic presentation in this contemporary digital hellscape landscape we all call “home”. It’s a subject I’ve been fascinated by for many years now, even before my introduction to ELit. I want my work to allow viewers to explore these issues through a Neo-Dada-esque lens, as well, which is how I have been able to make and find new meaning to life (experience) and art (expression) myself. I think it’s an interesting approach that has only been tentatively explored thus far. (Here’s an interesting article exploring memes as a kind of Neo-Dadaism! This is a topic I have explored on my own blog as well if you’d like to check it out!)

Anyway, these ideas have culminated into a project I call the Degenerate’s Gallery. This title is inspired by both Degenerate Art and the Rogues Gallery.  Essentially, I want this work to showcase new forms of digital content creation, like memes, as pieces of a new kind of self-representation that is representative, really, of a kind of re-emergence of traditional Dada ideals like nihilism, absurdism, and self-abnegation. Digital artifacts like memes and tweets seem to be engaging in a kind of revival of these traditional Dada ideals and, more than that, seem to speak to a new kind of self-image/identification that is self-deprecating but also a celebration of deprecation and of rejection of self and of reality (if that makes sense).

I imagine this project would manifest as a kind of drag-and-drop interface. The main screen would consist of a silhouette of a person’s head and shoulders, whose face and visible body are covered in a collection of artifacts such as memes and tweets but also Dada manifestos and pictures of traditional art pieces such as Duchamp’s lovely “Fountain“, which challenged the art world when it was first unveiled. Users will have to “drag” these artifacts from the silhouette in order to uncover significance (in a kind of purposeful reverse of Juliet Davis’ Pieces of Herself).

*Some of the digital artifacts I might include*

Dragging an artifact to a new place on the screen will cause a bubble of information about the artifact to appear. As users drag artifacts across the screen, they will engage in a kind of neo-collage, creating their own patterns of information. Through dragging artifacts across the screen, users will also be engaging in a kind of self-uncovering/ recovery as removing images from the silhouette will reveal an image beneath, where the face should be. This image will be composed of many increasingly smaller silhouettes, reflecting in fractals ad infinitum. (Imagine a fair’s fun-house mirror attraction mixed with Yayoi Kusama’s “Infinity Mirror Room“)

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Infinity Mirror Room

This underlying image is meant to be symbolic of the multiplicity of identity, especially in the digital age in which identity can be so easily manipulated and vary so vastly. The drag-and-drop interface along with the element of collage is meant to convey the mutability of self and of the self in art. Above all, I want users to understand that we are all of us works of art, degenerate, in-progress, slap-and-dash, or otherwise~

By the way, I finally dug out the charcoal and good ol’ sketch pad and drew my vision for my work:

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Honestly, this work is everything I didn’t even know I wanted it to be. Before putting charcoal to textured paper, I did not even know how scary silhouettes in places of eyes could be >.> Also, I discovered that I did still want to incorporate a kind of visual connection to bricollage and ideas of brokenness (disconnectedness) vs. mosaic (creation from destruction, assemblage of a new whole) via the “cracks” creeping across the screen.

I worry the aesthetic of this work may be a little scary but I also feel like this kind of aesthetic is “on brand” for me and is, essentially, a signature. This style is what distinguishes my approach and my work from that of others. I really want to see if I can incorporate some of my own drawings into my project, kind of like Stevan Zivadinovic did for Hobo Lobo.

Also, I want to recolor this design, perhaps re-draw it on black charcoal paper with white charcoal. I created a recolor in Google Docs that illustrates the effect I am going for:

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I want to draw this out for myself to see the effect IRL before I decide to rely on photo manipulation software.

To provide additional context to readers, I also chose to include a quote by notable Dada writer Tristan Tzara. The quote is provided at the start of this post. I believe it provides some framing in the same way that a poignant quote across the top of the screen provided framing and an additional layer of meaning to Illya Szilak’s Reconstructing Mayakovsky and Jason Nelson’s This is how you will die.

All in all, I think I have a fairly developed and “fleshed out” concept for my work. I think it’s a meaningful concept, as well, and one that is trans-formative and imaginative. I’m not sure how I would go about creating this work but, currently, I am in the process of experimenting with different programs. Hopefully, I will come across a program I can work with!

Please, let me know if you have any suggestions! And, please, let me know your thoughts! I’m quite curious about what others think of my proposed topic!

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~Till next time~

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Because I Am (Still) Alive

“One way or another, the dream will come. Fight.”

(*I recommend checking out my first post on this work before delving into this one~)

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Porpentine’s With Those We Love Alive is a dark, twisted, and fantastical Twine game that invites readers to become participants in the act of experiential inscription by asking readers to draw sigils on themselves as they work through the piece.  These sigils are meant to represent experiences typically invisible or intangible or hidden like “new beginnings” or “pain you can’t show” or “shame that taught the ocean everything it knows”. Of the work and its design, Porpentine states, “After playing, the reader has a tangible record of their own choices and identity beliefs in the drawings on one’s skin.”  These physical acts of personal and social inscription paired with the work’s re-imagining of abuse, loss, and trauma is meant to provide readers with new insight into the complex and often complicated and conflicting mechanics behind both. More, readers are able to make these experiences their own and engage in a kind of self-reclamation and renewal through in-scripting their lived experiences themselves on their person. In many ways, this work seems to encourage and be designed to help readers navigate the recursive nature of abuse and trauma and realize it is not something to overcome and defeat so much as cope with and manage day-by-day (a very difficult lesson to learn through any other way than experience).

 

This work, like Juliet Davis’ Pieces of Herself, affected me deeply and personally. I found the recursive/looping interface Twine affords to provide an apt representation of the cyclical nature of trauma and abuse. It never really ends so much as loops back on itself, moving from good to bad and back again. Balance is found within making peace with the loop and learning to navigate those forward and backwards motions (“Every day is damage”). Moving forward can mean going backwards (returning to your “chambers” every night or checking on the “statues in the garden”, peeking through the telescope on the balcony to the “wastes”) and vice-versa because progress has no set direction. Progress is a process.

 

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Narratively and word-choice-wise, I found this work also to be dead-on. Throughout the piece, our narrator (who is also you as indicated by the use of the second-person POV–“you make a diadem out of heretic bone and fleshsilk”, “you drag the glass across your skin”, “you no longer dream”, you receive a letter from the people “whose blood is your blood”, etc.) mentions losing the ability to dream as well as mentions seeing dead people wherever they go. “A dead person stares at you from beneath the lake.” “A dead person stares at you from the trees”, “a dead person stares at you from behind the hamper.” This loss of dreams seems to communicate the lasting trauma of abuse on the subconscious while seeing dead people everywhere seems meant to illustrate how trauma and abuse colour how you see the world. It’s a kind of living death, every memory another murder. You cannot forget but you also cannot move forward unless you forget. The evil, larval queen is representative of the power an abuser has over the abused, even long after the experience. That power never fades, merely manifests in different ways, requiring different things from you along the way. Accomplishing those things brings “little pride”.

When our friend, Sedina, appears, so does hope, though. Sedina’s presence seems to represent the importance of having a way to discuss or illustrate or otherwise work through/have an outlet for your trauma. There is no escape without that. Also, though, there is no escape without reclamation and reconciliation. “i’msorryforeverything”–It’s important to apologize to yourself, to be able to forgive yourself, even if it’s the last thing you want to do. You need to be able to own what happened to you in order to learn how to live through it. While “there are many ways to destroy someone”, it is important to learn that “power is wounded by anything that refuses to be destroyed by it”. Experiencing trauma, being abused–it doesn’t have to be a death sentence. The only way to beat it, though, is to live through it.

 

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Perhaps, again, I am imposing too much of my own lived experience on a work. But, given the invitation of this work to write how I feel all over my skin, I would say my reaction to its content is not only welcome but desired. By drawing my experience of this work out on my skin, I am connecting the content directly to myself. “What they did to me on the outside, they did to you on the inside”–this story is not mean to occur purely within a screen. At least half of it must occur inside of me. On me. I become a canvas, the art a record of my navigation through this piece, yes, but also a record of everything I have survived.

 

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Overall, I find the design and content of Porpentine’s work to create a compelling narrative and illustration of how trauma and abuse are cyclical experiences that can have lasting and haunting effects. Through this work, we can gain new insight into our own traumas as well as insight into the varied nature of trauma itself. We can understand that we have been traumatized and still hurt and long for the people we trusted and who betrayed that trust. We can understand holding onto letters from those who have hurt us because we used to love them. We can understand that trauma is like being a “chasm person”, separated from everyone, a feeling of being bottomless and empty, of being good for nothing better than swallowing everything you come in contact with. Hope can feel like a shameful thing, when you exist as a chasm. With Those You Love Alive captures all of this nuance and asks you to remember it as an experience–so you won’t forget it. So you won’t forget you lived through it.

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I know I won’t forget.

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~Till next time~

References

“With Those We Love Alive” – ELMCIP

“Between Screen and Skin: “Touchy” Subjects, Precarious Identities, and Electronic Literature as Haptic Media” – ELMCIP

Fun Fact

*For this piece, too, I wrote another post about it a while back. This post goes a lot more in-depth about the narrative aspects of the work and its symbolism. At the time, I was working on a project meant to explore the cyclical nature of abuse and so I was very taken with this work. Really, this post is an in-depth look at this piece. I could go on and on about everything I loved about this work and what it represents. Like, reading it was a turning point in my life. I still think about aspects of this work from time to time in my on life. It left a lasting impression on me and I highly recommend reading my other post on it. This post is more of a continuation to my first.

*I also wrote a prior post on this week’s other work we’re reviewing High Muck A Muck if you’d like to check it out. That’s another very profound and compelling work that explores the complexity of navigating a multi-faceted identity in our increasingly global community.

Porpentine’s Twitter

Porpentine’s Blog

Piecing Myself Together

Am I in pieces?

“This was the hardest thing to internalize; that something permanent but invisible had happened.” The Raven Boys – Maggie Stiefvater

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In Juliet Davis’ Pieces of Herself, the embodiment and construction of feminine identity as well as the relationship of the female self to public and private space is explored. This work of Elit operates through a drag-and-drop interface which allows readers to comb through different environments of the work for icons that can be “dragged” and “dropped” on the female, paper-doll-like motif adjacent to her environment. In this way, readers are able to see how a woman’s environment inscribes itself upon her. More, readers are able to explore how different contexts, such as home, community, and work, affect construction of identity and perception of the self. “Dropping” an icon on the paper doll triggers an audio clip that typically reveals something about how the space being explored imprints itself emotionally or physically on the woman. The icons themselves, paired with the nearly 400 pictures used to create this piece, seem to denote more than their mere connotation would suggest as well (i.e. blood drop icons in the shower room, diary entries and hidden keys in the bedroom, a fetus en-wombed by a church, a sex toy behind a discreet couch cushion etc.). The mere act of uncovering these icons seems reflective of the many layers of feminine identity and the further act of layering these icons atop the paper doll motif seems to suggest the multiplicity, the mutability, and precarious balancing of feminine embodiment. How each sound is layered atop another until there is a steady cacophony of steadily increasing headache-fuel seems to only further illustrate how jarring and overwhelming a task it is to be all these women–at once. Though seemingly simple in design, operation, and presentation of its ideas, Davis’ work is quite a compelling and profound exploration of the intricacies at work in constructing feminine identity as well as a frightening one in how accurately and heartbreakingly it articulates how social and cultural contexts can be all-consuming.

Perhaps it is because of my own context–my gender identity, my age, my education–but I found this work to be particularly poignant. Especially as I combed through the unspecified, female narrator’s private spaces–their bedroom, their bathroom, their kitchen, their living room–I felt this growing lump in my throat, this increasing ache in my chest. The diary entry in the hamper–“In my dreams, I’m home but it’s not really home. And I don’t recognize the town but I know where everything is. So why do I keep running into things…”–reminded me of my own journal, sitting beside me as I write this post, and all of the secret parts of me inside its pages no one will ever know. The rain cloud in the bedroom reminded me of the nights no one will ever see. The narrator recalling how hard they tried to but never could quite recreate their own mother’s passed-down recipes–“In the kitchen, where she was forever looking for the right ingredients”that hurt. It hurt me but also made me ache for all the girls and women I know who–secretly–try so hard to be half as good as their moms. Who are are always almost but neverI wonder if my own mom aches like this too? The mask at the front door in the living room and the narrator’s recollection of the monetary worth of what they’re wearing–of who gave it to them— made me remember a time when I was showered with all the gifts babe’s money could buy. I remember finding out the return on that investment did not equal love. Maybe it never could have.

 

 

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Who I became~

To me, this work, in its content, purpose, and design, is one of the most powerful and compelling pieces of Elit I’ve come across. There’s something so inherently moving about making an unseen, hidden process–such as social inscription; more, construction of feminine identity–visible. Maybe that’s the voyeur in me but I’d also argue that Davis is placing us purposefully in the role of voyeur. But, it’s like we’re spying on ourselvesIs that really spying???? Questions of ownership of the self are raised in this piece and authenticity as a construct seems to be challenged here. Rather than constructing who we are from navigating our environments, Davis’ work seems to posit that our environments navigate us, that our navigation of our environments is decided long before the question can be posed. According to Davis’ work, we are not imprinting ourselves on our environments. No, our environments are imprinting upon us until we are, essentially, composed entirely of pieces of our environments. This work seems to ask readers to really consider the nature of feminine agency and autonomy in a culture that poses so many, often conflicting, restrictions upon women.

Maybe my reading of this work is singular, a response to the many interactions of my life that brought me to experiencing it. But, if anything, I believe Pieces of Herself is trying to communicate the significance of lived experience. Of all women’s lived experiences.  Of my lived experience. I think that’s an incredibly profound message. More, I think it should not be as revolutionary as it is and yet…. How ’bout that Kavanaugh hearing, right??

Ultimately, Davis’ Pieces of Herself operates on many levels but, perhaps most importantly, it seems to read as almost autobiographic, allowing the reader to assume the unspecified narrator’s identity as they simultaneously engage in the process, navigation,  and negotiation of constructing that identity. Davis achieves this level of engagement through the drag-and-drop interface of the work, the use of audio and commentary, and the visual/design aspects working in tandem in this piece to create an inviting and immersive experience. This work left me feeling overwhelmed and naked(?) as well as left me with many questions about the complex nature of the self and its complicated presentation and representations. How much of me is me? How much is what others want me to be? How do I tell the pieces apart? And, am I broken into pieces? Scattered? Shattered?

Mostly, though, I was left wondering this:

Can I be a mosaic?

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References

“Pieces of Herself” – ELMCIP

“Bookish Electronic Literature: Remediating the Paper Arts through a Feminist Perspective” – Jessica Pressman, ELMCIP

“‘Pieces of Herself'” by Juliet Davis – Cynthia Roman, I ❤ E-Poetry

Fun Fact

I actually wrote about this piece a while back, during my first Elit “rodeo”. I decided to read what I had previously written after I finished this post. Let me tell ya, it is wild. Like, reading something you wrote when you know you were an entirely different person than you are now is wildSlightly cringe-worthy. Anyway, I figured I’d provide you with a link to that initial post for your own entertainment. Also, I think it’s interesting, in the context of reading Pieces of Herself, to compare and contrast who I am and who I was in writing. It was fun revisiting her. I miss her, who I was. I wonder if she sees who I am now and wishes she could’ve done more.

Anyway….

BTW

So, this work reminded me of a couple songs I thought I’d share with the class~ I couldn’t help singing them in my head as I was reading this piece and so I thought I’d share that particular level of my experience as well….

Pretty Little Head – Eliza Rickman

Francis Forever – Mitski

Copycat – Billie Eilish

Gasoline – Halsey

~Till next time~

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I Can’t Believe It’s Not Journalism!

“It’s like journalism–only better.” (pg. 6, slide 3)

This is bad

My Second Rodeo

So….that Hobo Lobo of Hamelin is some story, right? Some great work of far-off, far-fetched fiction, right? Like, could you even imagine living in a world like that???? Wild, right?

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I’m dying

WildHelp.

Alright, alright. Enough thinly veiled references to the blazing “hugest” dumpster fire politics in the greatest country in the world have become. However cathartic it may be…. 

I’m ready for Ashton Kutcher to pop out and reveal America’s been punked.

I remember when I first read Stevan Živadinovic’s Hobo Lobo a few years back, during election year, I believe. I was blown away, then, by how poignant the piece seemed. The allusions to socio-political points of contention such as xenophobia, nationalism, and big news media corporations (like Fox News) seemed so clear and so powerful, especially when paired with the invocations of Big Brother and the Fourth Estate. These complex, complicate, and, often, dark concepts seemed such a contrast, too, to the storybook, Dr-Seuss-esque elements used to convey them. It was shocking to see these elements so overtly packaged for consumption by the youth. Indoctrination is supposed to be subtle, you know?

Hobo Lobo seemed to be as much a modern reimagining of The Pied Piper medieval folktale as it was scathing commentary on contemporary politics, the 24/7 news cycle, and the effects of late-capitalism on the US.

Now, the work is f*cking horrifying.

the horror

If Hobo Lobo was too close for comfort before, now it’s a living nightmare.

I mean, look at this face:

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Could use more orange….

Nightmare fuel.

And, that’s just the imagery. When paired with the actual language used in this work, Hobo Lobo becomes highly unsettling. In fact, despite this work being ELit, I found it very difficult not to read it as I would a traditional narrative. The work, though, I think lends itself to that kind of reading–being modeled after a hybrid of the standard design of a pop-up storybook and the typical design of comic books. Unlike comic books proper, though, pages shift fluidly into each other, elements of both language and imagery flowing from one “panel” to the next, creating a “poly-linear timeline” and a kind of “infinite canvas”. Time seems to progress as the work “flows” from one event into the next. Persistence of narrative occurs in that the imagery of each page coincides with the lexia beneath it, nothing de-contextualized about it. In fact, everything seems embedded in a thinly-veiled context–i.e a not veiled at all one #didn’teventry~ The pieces of propaganda strewn purposefully in the background of most panels seem to reinforce a socio-political reading.

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I mean, you can’t reference Big Brother and not expect the ghost of Orwell to ruin the party. That’s his thing.

Hobo Lobo is a work that is meant to be read. Even the pages that do not make use of lexia, use images and sound–like pipe music and the laughter of children, the resolute thud of stone against earth–to convey not-totally-illusive narrative.

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I mean, these images are narrative. Even if I did not have the accompanying limerick to direct my interpretation, I think I could figure out the story. 

Anyway, regardless of what contemporary parallels I draw from the content, I believe  Živadinovic’s Hobo Lobo is a compelling work of Elit, whose language, design, and aesthetic all work in tandem to immerse readers in this upside-down, surreal-but-hyper-real, topsy-turvy caricature world.  It’s combination of whimsical, folktale, Dr. Seuss-esque with snarky, political satire is both charming and revealing of the dark truth of indoctrination: that it’s all child’s play until the stone bites the dust and you’re swallowed whole.

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References How I know my sh*t:

Elmcip “Hobo Lobo of Hamelin”

I ❤ E-Poetry “Hobo Lobo of Hamelin”

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~Till next time~

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Viva La…Russian Revolution???: Analyzing Neo-Futurism & The Mutability of Reality and Story in Illya Szilak’s Reconstructing Mayakovsky

Здравствуйте~

Reality remains fatal, a bullet in the brain ~

In the names of progress and peace, what would you sacrifice? Some of your freedoms? Most of your voice? All of your body? Replace your autonomy with technology, swap democracy for technocracy? These questions seem to be at the narrative heart of Illya Szilak’s Reconstructing Mayakovsky (2008), a work of Eliterature (ELit) heavily inspired by the rise of both terrorist activity and technological advancement in the early 21st century as well as by the life and literature of early 20th century Russian Futurist writer and revolutionary Vladimir Mayakovsky. Szilak’s work seems to ask readers to not only immerse themselves in its rich narrative aspects but to consider, conceptually, the nature of reality and the complex relationships of story to reality, of self to machine, and of machine to nature. The work accomplishes this feat through a combination of textual, historical, navigational, and aesthetic “mechanisms” all working in tandem alongside reimagined, Neo-Futurist ideology to construct an experience that “promotes an idiosyncratic reading” (Gauthier) of the piece and reveals the mutability of meaning (story) and of humanity (the self).

OnewOrld, the world of Reconstructing Mayakovsky, is one in which humanity, and its propensity towards violence and chaos, has been abandoned for the seeming safety of virtual reality. “Inhabitants who survived a major cataclysm…live in hibernation units immersed in a virtual world” (Gauthier). The program and its safety are guaranteed by the Monad Global Attention Group, the financial investors behind the OnewOrld project. According to the short video clip–that ostensibly adopts the traditional style of a financial investment PowerPoint– found when one clicks on the “Movies” mechanism–hovering in the starry pocket of an otherwise infinitely dark and empty universe main interface screen–“real bodies cost money” and “the end of profitability is near”.

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Physical reality has become unstable and so must be converted to a virtual system. This story, the overt one, plays out in 46 chapters whose text can be accessed via clicking on the “Mechanism B” mechanism floating in the aforementioned abysmal/primordial miasma (Gauthier).

Oneword background

Example of the Chapters + Some background info on OnewOrld~

Audio versions of the chapters can be found by clicking on the “Audio Podcasts” mechanism. The OnewOrld language is English that has been translated into French and then back into English using the Babelfish program–literally removing it that much further from ourselves. This makes the language read/sound quite mechanical, adding additional complexity as well as a sense of eeriness to readings. These chapters float chaotically in no specific order in their own, bright red or solid black pocket universes of the site. Readers are given no directions on how to navigate the narrative nor interpret the mechanical language within. Instead, readers seem asked to construct meaning on their own as though the work were one large, deconstructed poem, whose inherent order matters less than a reading’s interpretation.

This format lends itself to the idea that navigating an ELit piece is also, “an act of producing a work’s signifying properties in the moment of engagement with them” (Pressman). Meaning cannot be interpreted in this work until a node–a hyperlink, in this case–is clicked and its encoded lexia accessed. Even then, though, there is no promise of revelation. What do 46 chapters mean when, “We reject the absolute truth of the number”? Or, when “The difference between a lie and the truth rests in its utility”? This lack of inherent meaning seems to both be at odds and celebrate the work’s Neo-Futurist undertones. Futurism was an early 20th century art movement that rejected the past and the mere idea of the past influencing the future and instead celebrated the future, the youth, speed, dynamism, violence, and, above all else, the machine. Marinetti’s Manifesto of Futurism calls for the abolishment of libraries and museums and, most famously, compares the automobile to the splendor of “the Victory of Samothrace”. Bold. But, also an ideology that seems promoted in Reconstructing Mayakovsky.

That said, while attributing meaning of this otherwise seemingly disjointed work through a kind of Neo-Futurism reading would be easy, it seems not to suffice. Contradicting elements appear throughout the piece, promoting violence but also a way for “non-violently defining, creating, and animating the world”. Pieces irreverently discard the human and its agency but also claim, “In so far as we are bodies and minds We are the embodiment of nature In so far as we use technology as an extension of our bodies and minds there are choices we can make [sic]”. These contradictions complicate any simple understanding or navigation of Reconstructing Mayakovsky.

Most of these contradictions can be seen when the overt narrative of the work is compared to its accompanying manifesto, which can be found by clicking on the “Manifesto” mechanism. A condensed version of the manifesto titled “a petit Manifesto: or how I learned to stop worrying and love the movies” can be read on the screen that first appears or a longer version of the manifesto, “Do You Think Malaria Makes Me Delirious?”, can be accessed by clicking “download print version”. The condensed version hits some of the manifesto’s highlights such as, “All realities are virtual, but few of us can live here”, “Art is to life as Kitsch is to death” and “EVERYTHING HAS BECOME US, But we are nowhere in the world” while the longer version elaborates on these subjects and many more–such as poetry, language, memory, religion, humor (“We believe that all humans can laugh but most jokes don’t translate well”), etc.–eventually concluding that, “Our future demands a feminine art that knows and appreciates the body and its ornaments” (Szilak). Not very Futurist proper and, in comparison to the narrative aspect of Reconstructing Mayakovsky, this manifesto seems to contrast greatly. In fact, it seems to be a rebuke.

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The manifesto reads as quite a scathing critique of the virtual, technocratic world of Reconstructing Mayakovsky but also of some of the key tenets of Futurism, adding an element of self-awareness the Futurists themselves seemed to lack to the work itself if not the narrative within. Additionally, the manifesto seems to challenge notions of reality and perception, stating, as mentioned earlier, “When the wor(l)d has any meaning The difference between a lie and the truth rests in its utility [sic]”. Reconstructing Mayakovsky, then, becomes a mirror for readers, inviting them to explore the relationship between truth and perception of truth via its decontextualized, free-associative interface and its Neo-Futurist framework which invites a kind of contradictory, Orwellian “doublethink”.

Perhaps, though, some of these contradictions can be reconciled in Mayakovsky himself, who is a main character introduced into the world of the narrative aspect of this piece but who is also the author of much of the conceptual underpinnings of Reconstructing Mayakovsky. More, perhaps taking a closer look at Russian Futurism specifically and its conceptual underpinnings can bring a degree of understanding to an otherwise nebulous and mercurial work.

Vladimir Mayakovsky was born in the Russian Empire, pre-revolutions, in what is now  the country of Georgia. He came of age and became a writer and artist during a time of ideological upheaval as well as national and cultural revolution. In the early 20th century, Mayakovsky joined the Russian Futurist movement, an art movement that was influenced by Italian Futurism’s ideology which promoted/idealized modernization but that also, almost antithetically, appreciated traditional Russian folk art and life. Many members of this movement, like Mayakovsky, sought to dismantle the Tsarist autocracy that had been governing Russian for hundreds of years and replace it with some form of socialism–communism most commonly. Many artists from the movement participated in the generation and proliferation of Bolshevik propaganda.

Most members of the movement rejected the work of the so-called, “Great Masters”. One of the most famous Russian Futurist manifestos Mayakovsky contributed to, “A Slap in The Face of Public Taste”, proclaims, “The past constricts us. Academia and Pushkin make less sense than hieroglyphics. [burn] Dump Pushkin, Dostoevsky, Tolstoy, etc., etc. overboard the ship of Modernity” (Burliuk et al. as quoted in Lawton). Essentially, the Old Masters are dead and should stay dead.

Many Futurists also came to reject the title of Futurism itself, Mayakovsky stating in a short essay titled “We, Too, Want Meat!” (1914), “What’s a Futurist? I don’t know. I never heard of such a thing. There have never been any”. Perhaps this rejection is what led to the eventual dissolution of the movement. Perhaps is was the fall of the Russian empire. Perhaps it was always just disillusionment in need of voice and performance….

Regardless, the movement essentially dissolved in Europe with the onset of World War I and dissolved in Russia after the Russian Revolution of 1917, the assassinations of the last of the Romanov family, and the rise of Stalin and the Soviet Union. Mayakovsky continued writing in the “Futurist spirit” though, penning multiple books of surreal, decontextualized, or otherwise counter to poetry and becoming an outspoken spokesman for the Communist party until his suicide in 1930. A bullet in the brain heart.

In many ways, Mayakovsky embodies the ideals Reconstructing Mayakovsky espouses–which makes sense. (The work is literally titled Reconstructing Mayakovsky and, in the piece, Mayakovsky’s character is resurrected.) Evoking Mayakovsky is evoking the complex, often contradictory nature of Russian Futurism–its promotion of both the machine and traditional folk art–but also of that time period of upheaval and revolution in which the movement and Mayakovsky existed. “We believe that art is the memory of the future and memory is the art of the past”, the manifesto states. Mayakovsky is both the art and the memory. Reality is what exists in between, is what exists in the vast blackness surrounding “Manifesto” and “Movies”.

The “Archive” mechanism seems to also enhance the idea of reality being made mostly of what is remembered and created. This mechanism consists of images, documents, and articles related to events referenced in the narrative aspect of the work. In this way, the reader and the reader’s reality are being tied to the reality of Reconstructing Mayakovsky as all of the events referenced in the narrative aspect of the work have a basis in our reality (i.e. the bombing of Nagasaki, the existence of complexity theory, etc), making questions about the reality of Reconstructing Mayakovsky also questions about our reality.

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Some examples of the Archives referencing Mechanism B~

And, again, readers are given no directions for how to navigate this space of stacked images. The onus of coherence and persistence of narrative falls on the reader. This decontextualization seems another callback to Futurism while the compilation of meaningful subject matter seems to be what connects the overall concept back to Russian Futurism (which still values the traditional or “sentimental”) specifically.

Ultimately, the decontextualization of this piece allows for multiple readings of this work and, so, multiple constructions of reality, something that becomes apparent to readers as they attempt to, almost like “astronauts”, forge connections in that amorphous, black space between content and meaning. Additionally, the resurrection of Mayakovsky in this work resurrects and brings into question the ideals and contradictions of Russian Futurism, further complicating the understanding of thi piece and ensuring that no easy answers bring reconciliation. Through concept, design, and aesthetic, Reconstructing Mayakovsky seems programmed to function as an exploration of the contradictory nature of reality, perception, and the relationship of the self to both. Or, perhaps, it is meant to be a joke and its meaning just “does not translate well”.

Works Cited

Gauthier, Joelle . July 25, 2011. ”  Reconstructing Mayakovsky  “. Sheet in the NT2 Laboratory Directory of Hypermedia Arts and Literatures. Online on the NT2 Laboratory website. <http://nt2.uqam.ca/en/repertoire/reconstructing-mayakovsky >. Accessed September 23, 2018

Lawton, Anna M. Russian futurism through its manifestoes, 1912-1928. Cornell Univ Pr, 1988.

Marinetti, Filippo Tommaso. “The futurist manifesto.” Le Figaro 20 (1909): 39-44.

Pressman, Jessica, and N. Katherine Hayles. “Navigating Electronic Literature.” Electronic Literature: New Horizons for the Literary (ebsite)(2008).

Szilak, Illya. Reconstructing Mayakovsky. June 2008. Web Design and Development: Cloudred. Art for animation and graphic design for manifesto: Pelin Kirca. Original music for animation: Itir Saran.

Further References:

http://pelinkirca.com/reconstructed/

http://cellproject.net/creative-work/reconstructing-mayakovsky-2

https://www.theartstory.org/movement-russian-futurism.htm

https://helenbledsoe.com/?p=238https://helenbledsoe.com/?p=238

https://www.estorickcollection.com/exhibitions/a-slap-in-the-face-futurists-in-russia

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До свидания!

~Till next time~

hannibalwinkingsexilygif

It’s Been Real (Or Has It…???) ^.^~

Farewell GIF - Find & Share on GIPHY

(Just kidding This simulation’s graphic’s are super real >.<)

So, it’s the end of another semester spent traversing the weird, wild web, huh? Time definitely flew by this semester! It feels like just yesterday we were talking about the terrors of online data tracking… or maybe I’m just having flashbacks of Zuckerberg testifying before Congress >.>

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Anyway…

This semester was definitely wild. I can honestly say I was not expecting to do as much work as I managed to pull off this semester. Check it:

Weekly Blog Posts (I did all 14! Really, wild~)

Daily Digital Alchemies (Somehow did all of these too??? And only came in at 5th place…)

Makes (And I did all these??? And only made it to 4th place -_-…sensing a pattern)

That is a lot of work. Time-consuming work. I don’t know about everyone else this semester, but it takes me a minimum of one day to write up a blog post and another to edit. That’s not to mention how long it takes to complete the week’s actual digital activities. For example, my Audacity post, my Audacity Interview post, and my posts on both Neo-Dadaism and Selfies took significantly longer time to complete. This is because 1) I am still very unfamiliar with working with audio and 2) some subjects require much more research in order to write a thoughtful/insightful post about them. The post on selfies was, after all, done in conjunction with a Twitter chat I ran on selfies as art as well (which I reflected about in another post). All this is to say that I did put a lot of effort and time and thought into my work every week. Nothing was ever hastily thrown together and I always tried to be thoughtful in my reflections.

On Twitter, too, I tried to participate regularly throughout the semester. I tweeted out @netnarr every time I posted on my blog and used #netnarr as well. I always did at least 2 DDAs a week, as well. (And, I think I tried to approach both creatively–using imaginative titles and images.) More towards the beginning of the semester, I also used the #netnarrlinks to share some interesting articles/videos I found on topics I thought relevant to the course. (Or, just interesting to me ^.^) While I’m not sure if all this activity counts as “robust use” of the platform, I would definitely say it demonstrates diligence.

2018-01-23

Activity on my account from 1/23/18

2018-05-05 (5)

Compared to activity on my account from 5/5/18

2018-01-23 (1)

1/23/18

2018-05-05 (7)

5/5/18

(Check your own Twitter activity)

As you can see, I definitely increased my activity on the platform and began posting more regularly to Twitter. More, my posting seems to have become more organized–I have more regular times of activity as well as more regular usage of hashtags and links. Retweets are still my most popular form of Twitter usage but I have certainly upped my game overall on the platform this semester.

2018-03-02 (1)_LI

1/23/18

2018-03-02 (2)_LI

1/23/18

2018-05-05 (2)

5/5/18

2018-05-05 (4)_LI

5/5/18

More than all that, though, I’ve become a part of a community on Twitter. Not just my activity itself on the platform increased but my level of engagement with the platform. Before getting involved with this course and the digital humanities, I never thought of Twitter has a place capable of fostering community. But, it really is. I learned so many tips and tricks from fellow users online.

Which brings me to another point: collaboration. Twitter makes collaborating with other people so very easy. For example, one of the extra projects I participated in this semester was largely facilitated through Twitter. The NetNarr Alchemy Lab is a collaborative work, put together by so many very talented digital alchemists. Essentially, it’s an online interactive storytelling project in which I was invited to participate. You can read all about my own contribution here and the ins n’ outs of working on it but I just want to say that this was one of my most favourite activities I participated in this semester (though it wasn’t part of the course proper). Also, I want to thank everyone who reached out to me on Twitter and helped me with this project. Again, without the online community, I’m not sure how any of this would have been accomplished. Not easily, for sure.

Additionally, I did try to use my Hypothes.is as well towards the start of the semester. We kind of bailed on it as a class, though, so I hope my lack of “robust” usage of the tool will not count against me. Interestingly enough, though, I did end up using the annotating tool for another course this semester–a course on research and theory (I made 96 annotations for just that course). So, though I did not get to use my Hypothes.is know-how in this course, know it did still come in handy elsewhere~

Honestly, I’m fairly proud of all the work I accomplished in this course. My favourite assignments have to be the ones related to selfies, to memes, and to gifs. I think my Make on the #SelfieUnselfie project is one of my most meaningful, digital works to date. And, my Make on “Gifing” digital life still makes me actually laugh out loud. More, discussing memes as art objects inspired me focus my thesis on researching Neo-Dadaism in new digital media (specifically on researching the emergence of the Internet meme as a resurgence of Dada idealism). So, our discussions on these topics in class, specifically on digital art, definitely inspired me to think more deeply about the content.

That isn’t too say there weren’t subjects I found uninteresting. As mentioned before, I don’t enjoy working in audio. It’s more difficult than other mediums, yes, that’s part of why I don’t like working with audio but, also, there’s just my personal preferences. I’m a more visual person. I like art on canvas, words on the page. I like having something for my eyes to swallow, devour. Of course, I’m pleased enough with how my audio interview project turned out but, if given the choice, I would not want to repeat the project. Even having two weeks to do it, I found it to be just very complicated. More than endearing the medium to me, the project kind of turned me further off. Sorry. (I really wish my feelings were different but when I think of that project, I just remember frustration.)

Another aspect of the course I found it bit dull was the online gaming section of the course. Again, this might come down to an issue of personal preference. I just didn’t find the content to be too engaging or interesting. Also, I didn’t necessarily like looking at digital redlining as a kind of game because it’s really not. For future courses, I would like to suggest moving the issue into the area of Digital Life. (I did like my Make for this subject, though. The activity for the subject is very apt, I think. It conveys exactly what it is designed to. Also, I found the H5P tool to be fun to use. I would definitely recommend teaching future students how to use it.)

Enough with the critique!

Overall, I found this course to be fun and engaging. This semester has certainly had its ups and downs. While some activities in class came easier than others due to past experiences working with the medium, there were plenty of challenges presented by this course. This semester, I certainly had to learn how to use new tools as well as how to make peace with old rivals here’s looking at you Audacity >.>. For the most part, I think I made out pretty well. Not all of my work came out as polished as I would have liked but I still tried to do all of the work asked of me and I tried to do it well within the time constraints I had upon me. More, I tried to be creative with my work wherever I could–whether through word-play, memes, or some other insertion of my own personal panache, if you will.

Above all, I hope it comes through that I am proud of what I accomplished and of what I learned. This semester was tough but I’m tougher! I think I came out on top. But, what do you think?

Thanks for another amazing semester!

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Links

Twitter

Poeticize the Poem (DDA Topic I submitted)

ELit Concept + Moon Girl Bot

Digital Art Referencium (Curated by me and Hailey)

Giphy

Killing It

Peace Out Goodbye GIF by GIPHY Studios Originals - Find & Share on GIPHY

 

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

Done Its Over GIF - Find & Share on GIPHY

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

Gaming the System

*Much less fun than it sounds~

Painting the Town Red

This week, we talked about redlining–basically denying services either directly or indirectly to residents in certain areas of a city or town based upon the ethnic makeup of the residents. More specifically, we talked about the idea of digital redlining and how online algorithms can play a part in the contemporary implementation of redlining practices.

In order to learn more about digital redlining and how it works, we watched a fascinating talk led by Chris Gilliard:

Aside from this talk, Chris also contributed to this article about how digital redlining operates at the university level. Essentially, the appropriate use policies (AUPs) can become knowledge-blocks for many students at community institutions. Being that community colleges are typically populated by working-class individuals, many of whom come from a more ethnically diverse background, this problem becomes one of digital redlining.

Because online spaces are where an increasing number of people primarily get their information from, restrictions such as these become not just issues of inequality and accessibility but of ethics as well. If the flow of information is restricted, then people simply cannot make informed decisions about things that can greatly affect the quality of their lives. More, by restricting access of certain knowledge, power is given to those who are not restricted. A game in which certain players are given all the knowledge and all the power while others are left totally unawares is not much of a game. At least, it’s not a very fun game, to say the least.

What I find particularly awful about the whole issue is that those who are being most affected by digital redlining are the ones who would have no idea, who are not informed and have no means of becoming informed. That is the game. This is especially sickening considering how often technology and the Internet are lauded as being “great equalizers”. The truth that so few have access those is that both could not be any farther from. You might even consider digital redlining the 2.0 version of the original–now new and improved.

Painting Newark, NJ Red

In order to learn just how close to home the issue of redlining is, this week in class we investigated possible instances of it occurring in nearby Newark, NJ. The activity asked us first to review this map charting inequality in the city and then to choose from a variety of other services to see if the locations of those services were possibly affected by the inequality of wealth revealed in the initial map.

I chose to see if there was any correlation between the historical redlining of Newark and the location of license plate reader (LPR) cameras. This is what I found:

https://h5p.org/h5p/embed/215322

In researching whether or not a kind of redlining is still present in Essex County, specifically in Newark, NJ, I noticed a possible correlation between LPR camera locations and the location of Newark’s poorer areas.

According to the LPR map, there is a cluster of LPR cameras located in the center of Newark, sandwiched between 2 areas (Third Ward and the Ironbound) identified by the inequality tracking map as “hazardous” zones. Now, this cluster could be related to the close proximity of Newark Penn Station–a major travel hub–but upon inspection of other large, travel hubs in the area, like the nearby Paterson rail station, that doesn’t seem to be the case. At least, there’s only 1 LPR location remotely near the Paterson rail station compared to the 5 LPR locations within a few blocks of each other near Newark Penn Station.

So, perhaps the cluster of LPR locations in Newark relates more to the “hazardous” designation of the overall area? What do you think?

My Make

Personally, I was quite surprised to notice a possible correlation even though I, myself, having grown up nearby, know there areas of Newark I want to avoid, especially at certain times. Driving into Newark this weekend, actually, for a concert, I found myself thinking more deeply about the issue of potholes on 21–the main drag through the city. 21 stretches across Essex county and into Bergen county–where I now reside. There is a clear distinction between the amount of potholes encountered, though, between the two counties. More specifically, between the city limits of Newark and the surrounding areas. Seems potholes on 21 are more worth filling outside of the city >.>

Returning to Sound

In contrast to the rather depressing topic of redlining and its digital counterpart, this week also had us finishing up our work on interacting with empathy games. (I think an empathy game about digital redlining could be pretty good, yeah?)

Anyway, this other activity had us recording questions about empathy games designed by students in Prof. Maha Bali’s class in Cairo, Egypt. Prof. Bali’s students would then record and upload their responses to the shared padlet. Once all the audio components were available, we had to download them and use them to create a new, cohesive whole–an “interview” of sorts in Audacity.

Now, I don’t really like working with audio myself but I think my project turned out pretty well. There are some rough patches in it and, of course, there’s how awful I think I sound recorded but, other than those *minor* issues, I am pleasantly surprised with how my interview turned out. But, don’t take my word for it.

Have a listen yourself:

Mainly, I think my intonation is off in some places and conflicts with prior recordings which makes it obvious that this was not recorded all at once. Also, for some reason, I think I sound more condescending in places where I didn’t intend to and I don’t know why???? Audio is weird.

But, again, what do you think?

I was going for this being like a podcast of sorts–hence the jazzy intro and outro~ Does that vibe come through or nah? What’s your impression of this work?

Jazzy Intro & Outro

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Links

Daily Digital Alchemies

~Till next time~