Tuesday, March 31, 2020



"Read" PEARL, 2017 Oscar nominated for "Best Animated Short Film": https://www.youtube.com/watch?v=WqCH4DNQBUA

& Behind the scenes: https://www.youtube.com/watch?v=7fN0bZhks5Y

I know we can't view it in VR, but you can scroll around like in a 360 image & this gives you an idea of what's up in this medium. You'll also maybe be making something like this in Scene or can explore street views in Google Earth this week.

& reply with your thoughts on this story (music video?), 360 texts, VR, maybe what's coming in film...

This is a collection of Google Arts & Culture augmented and VR experiences: https://artsandculture.google.com/project/360-videos 

Chapter 7

In Chapter 7, the final chapter of “Electronic Literature,” Rettburg discusses the importance of hypertext in the digital age and why electronic literature is not a “replacement” for print literary culture, but instead a form of “extended storytelling” that creates new experiences suitable for digital culture. As he discusses throughout the book, Rettburg reinforces that genres of electronic literature are interchangeable, serving as “building blocks for other forms to follow them” and relying on interaction to function. This interaction is known as “play” and it’s what we’ve been doing every Thursday in this class. Rettburg defines this “play” in Text Rain as “conversation, imagined as a physical act.” I really like this definition of the way readers understand electronic literature. When I think about my major and the study of literature, “physical” is one of the last words I would use to describe English, but electronic literature does require movement, manipulation, and intention in order to be fully grasped. I think it’s a really interesting form of media and I’m glad that I was introduced to it. One of my favorite quotes from the reading was the last line, “Never forget that. Always remember the fun.” It made me appreciate the “play” aspect of electronic literature more and try to not find “meaning” in every piece of work that I look at and instead enjoy the exploration of the work before me.

Rettburg notes that “As technologies complicate the distinction between the map and the territory, and as we increasingly live in a reality in which our movements are virtually mapped and monitored, these locative works provide us with tools to reflect on the meaning of mapping in our everyday lives.” Something that I took away from this quote is that the media reflects the age, meaning that new technologies influence the thoughts and ideals of a society. Rettburg remarks that, because of this, we need to preserve electronic literature in the same way we preserve books in libraries. I find it very interesting that databases with the history of electronic literature exist on the Internet to preserve the timeline of advancement in the field, and I’m curious to see what forms of media will exist in future years that will also be preserved for future generations to study.



This chapter discusses other e-lit genres consisting of: locative narrative, digital literacy installations, virtual and augmented reality narrative and interactive + combinatory cinema. Each of these genres builds upon one another to build a narrative.
Virtual reality is very interesting to me so I decided to take a deeper look at the work by David Blair called, "Wax or the Discovery of Television among the Bees". This film project involved using hypertextual database logic that produced an interactive cinema experience. Mixed digital animations, live action and found footage was all put together to create this film. It was an interesting psychedelic fable that was shot from an imagined perspective. It had very positive reviews on the New York Times and was the first film to be streamed on the internet. I like how this story takes you along a unique adventure and draws you in right away. This story is described as historic since it was so different from what anyone had ever seen before and managed to be considered a milestone for "Internet Art". It is one of the earliest examples of digital cinema which was released in 1991. Taking a look at this showed me how all of this started and gave some background on the earliest forms of digital cinema.

Sofia Borea

Ch7 & Text Rain

In Chapter 7 of Electronic Literature, Rettberg discusses divergent streams. Rettberg opens up this chapter by introducing locative narratives and technologies, stating how every smartphone nowadays has a GPS installed in it allowing the phone to give its current location. Rettberg states the benefits that come with our technology knowing our location, like traffic and weather updates. However, this access to our individual locations does come with cons; a surrender of privacy. However, Rettberg brings out good points about how locative technologies can benefit narrative and poetic experiences. Today, radio frequency identification (RFID) and QR codes have allowed us to tag stories on locations. For example, Snapchat. Snapchat allows us to take a picture and enable a geotag that includes the current location of the individual.

Text Rain is an interactive component that requires the individual to give body movements to interact with the falling letters. Sometimes the individual can catch enough letters, leading the letters to transition into actual words or phrases, usually about the body and language. This is interesting to me because it seems very interactive, and doesn't work to its ideal extent unless the individual actually interacts with it. This is demanding more from the students than just a raised hand, this requires the individual to actually interact with it.

Ryan Donahue

Monday, March 30, 2020

Chapter 7 and Camille Utterback

In Chapter 7 Rettberg discusses and focusses on divergent streams, he mentions how there are many different genres of e-lit that still aren’t really discussed today and that he didn’t really discuss in his book. He also talks about how these other genres that aren’t really mentioned can influence or help other genres, they all have the opportunity to build off of each other like bricks. The evolution of technology has also impacted literature greatly. The inventions of QR codes and other digitally intelligent tech has created many different ways to read text. Locative narratives utilize these designs to create ever-changing stories and new interactive ways to follow text.

After viewing Text Rain I became more intrigued, the technology utilized to create something so eye-opening in the 90’s is crazy to me. To this day I thought this technology was and is still being studied to create something that works flawlessly. Another thing that’s interesting is that the letters are not random and can read as sentences even with the interruption of human interaction.

I looked more into Camille Utterback's installations and enjoyed Entangled that she released in 2015. This installation takes 3 panels of fabric with projected color/images and as someone moves around on the other side of the installation images, colors, and transitions change on the other side. This makes me think of the saying “there’s always two sides to the story” when someone on one side does something someone on the other may do something similar but it turns into a different outcome. And that’s what happens when humans fight over issues and the “two sides” never make an agreement. This installation is beautiful to see and take interactive art to the next level.

-Mason Sweet

Divergent Streams

This chapter focused on topics that needed more unpacking than was able in the 5 genres that were outlined. Rettberg also mentions that the five genres of previous chapters often intermingle although they seemed to have been outlined as separate genres of E-Lit. This chapter looked at aspects such as Locative Narratives and Interactive Installations. As well, Rettberg also covers aspects of collecting E-Lit and consideration for the future of E-Lit to finish off his chapter. Essentially this chapter encompasses elements of spatial interaction and can be looked at in more physical terms such as geographic location (like the GPS in Smartphones). This is probably why we are doing location mapping and geographic spaces for our play assignments...I looked into TOC: a New-Media Novel by Steve Tomasula which expresses more of a game-like quality. It includes discovering pieces of writing and unlocking parts of the story to read. It does have a base-focus on writing and a bit of a cinematic quality just as Rettberg mentions. The trailer that I watched gave off mad Twilight Zone vibes and the next video that I saw showed how to navigate the space within the piece. You can download it as an App (even as an iPad app wow) and read the story in unique spaces like a sciency future glass ball. TOC: a New-Media Novel.


Chapter 7

In the final chapter of electronic literature, Rettberg briefly covers the previously uncovered kinds of e-lit. He makes it known that these are most certainly not the least interesting, but maybe just the newest and least covered types of e-lit. The final four types of e-lit he focuses on are locative narratives, expanded cinema, virtual reality and augmented reality. Locative narratives are m favorite because it involves real movement throughout the world, as well as technology to experience the story. A story experienced through scannable QR codes at real locations to describe a scene sounds amazing. It also reminds me of certain black mirror concepts. If these concepts were used in a more lighthearted and humane way, would be incredibly innovative. Virtual reality and augmented reality are things I’ve experienced a decent amount already, so I get less excite about it. I kind of expect it now. All in all, this boo just hyped me up for a potential cool future with lots of new media, but also scares me because we could lose a lot of our roots.
I investigated Pry by Danny Cannizzaro and Samantha Gorman. It is an app that creates expanded cinema, aka, kinetic e-books. These seem like e-books with pages you can rip and scenes you can watch on a different page. Could be cool.


Chapter 7: Divergent Streams

Chapter 7 of Electronic Literature by Scott Rettberg is focused on the topic of divergent streams and areas of e-lit that were not easily explainable throughout the other chapters of the text. Examples of this include performance art, art installations, digital installations, virtual reality, film and many other sub-genres. An example of this that we have all experienced personally could include the art installations we visited in the PCAC earlier this semester. While reading this chapter I became interested in the topic of locative narratives. I did a web search and stumbled across the locative narrative "Somebody" by Miranda July. It's described as an "app that asked strangers to deliver messages between friends." It was launched with a companion film and supposedly had a lot of traffic on the page. http://somebodyapp.com/ Here is the website that holds a lot of the background information. It seemed like an interesting concept and from a few reviews I was able to read, a lot of people really liked the idea. I don't believe it is still available for use but you can find screenshots and user messages easily.
Our last chapter in Scott Rettbegrs, "Electronic Literature" is about the topic of "Divergent Streams" Going into this final chapter, I had no idea what that meant. According to Rettberg, it includes other genres of electronic literature that do not get as much attention as the other five we have discussed thus fsr. Divergent streams are the extension of literature into the physical world and also include how they expand into different disciplines. The chapter discusses new technology and how that has connected itself to literature over time. Systems such as GPS, QR codes and radio frequency allows stories and locations along with writings. One of the examples of technology along with local projects was the "Yellow Arrow Project." Christopher Allen allowed participants to order yellow stickers int the shape of an arrow, place them in public and each one would allow for people to text a number and receive a short narrative depending on location. 

chapter 7 divergent streams

Chapter 7 goes in to discuss topics that weren't yet covered. Rettberg describes them as "some of the most interesting current practices in digital writing." He briefly describes how other genres of digital writing have been developed and can help build upon genres of other categories.

I thought the part about locative narratives was an interesting take oh contemporary smartphones. Smartphones can be more useful than texting and phone calls but also the use of maps and GPS. "Our interactions with contemporary social networks and online shopping sites are not only based on who we are and what we do, but also where we are and the situations of the world around us." He points out that the use of smartphones can sometimes depend on where we are in the world.

I saw a news article today that talked about Poland using selfies to track COVID-19. They download an app called "Home Quaratine." It is mostly for people who have just traveled abroad, but they must download this app that measures how long they self quaratine (must be 2 weeks at least) and users must send in a selfie to prove they're not outside. If a selfie isn't received within 20 minutes they will be tracked by authorities.

This seems like one good example of using contemporary technology and putting it to greater use during this pandemic.


Cassie H

chapter 7

Chapter 7 focuses on interactive spaces; this includes things like virtual reality and interactive art installations. Out of all the different types of digital literature this type challenges what literature is the most. One reason I think that interactive spaces are not literature is because it can exist without words. Most other types of digital literature we have looked at over the semester rely on words to convey their messages. They might use different types of media to enhance the experience; music, images, and hyperlinks are used in synergy to create a story. Without writing, hyperlink stories would not be able to exist. However, interactive spaces do not rely on words to convey a message. Some do use words to create an interactive experience, but it is not necessary to create an interactive space. One thing that I have realized over the course of this class is that does it matter if something is literature? One reason I enjoy reading is because it gives me a new perspective on the world in a way that is enjoyable for me. Literature is not the only form of media that can give people a new perspective: media like movies and are also important. If the media helps people learn while enjoying it, that is what matters. The word literature can be used for books, but just because something is not literature does not mean it is not worthwhile.

Chapter 7

Chapter 7 "Divergent Streams" focuses on genres of electronic literary that could not be explained in detail within the book. A few genres Rettberg discusses includes "Locative narratives", "Interactive Installations",  and "Expanded Cinema, Virtual Reality, and Augmented Reality". Locative narratives is about the relationship between our interactions between the Internet and real life. Rettberg uses Google Earth and Street View as examples of programs that are able combine elements of real life and technology. Rettberg believes locative technology is able to create experiences through layers about the world. Technologies such as GPS, QR codes, and RFID are used to identify specific locations and used to deepen a electronic literature story. One example Rettberg uses is a "murder mystery by retracing the steps of the killer at the scene of the crime" (184). The main aspects of a locative narrative is the relationship of real life with a geographical location and include characteristics of how the "experience can be mapped" (185). Rettberg explains how many locative narrative are a collection of narratives and uses The Yellow Arrow Project as an example. The Yellow Arrow Project uses SMS and placed markers on the website which allowed the reader to send messages to the projects phone number. Interactive Installations is a genre that "extends techniques from electronic literature into arts and performance environments" (189). Text Rain is an example of a interactive kinetic text installation. Letters would drop at the top of screen and each letter would interactive with the image on the screen. Expanded Cinema, Virtual Reality, and Augmented Reality focuses on 3-D objects and sometimes 4-D environments. CD-ROM became a popular tool at the beginning of augmented reality with films using it to experiment with different techniques. 

The work I chose to focus on was Terminal Time. Terminal Time was created in 1998 by Steffi Domike, Michael Mateas, and Paul Vanouse. It is a 30 minute documentary about the history of the world. Terminal Time first "moved from the far past to the recent present...and the audience was presented with multiple choice questions and asked to clap for the options they preferred" (195). The questions were based on the audience's ideology biases and would change based on the audience.

Tim W

Sunday, March 29, 2020

Chapter 7 - Divergent Streams

The final chapter in Scott Rettberg’s Electronic Literature covers “divergent streams” which Rettberg states “deserve fuller treatment  that the space of this volume will allow” (183). In this chapter Rettberg includes: locative narrative, digital literary installations, virtual and augmented reality narrative, and interactive and combinatory cinema. These pieces of literature all present some kind of physical art extension. To me, these forms of literature are exceptionally unique, as compared to the other kinds we’ve already looked at, because they are fleeting. 50 years from now there may not be any record of their existence. 
I chose to look into a locative narrative called Yellow Arrow Project, by Christopher Allen, Brian House, and Jesse Shapins. I chose this piece because it sounded familiar to our interactive assignment last week with our “I feel” markers. This piece was also really cool to me because anyone could participate, anywhere. Participants could act as a creator by ordering their own arrow online and texting the project manager through the number linked to the yellow arrow sticker. This allows them to add their own observation or piece to the link on the sticker. These stickers could be placed anywhere. Other individuals could interact with this art piece by calling the number on the sticker to retrieve whatever was linked to it.This project seems like something the world could need right now, good social distancing but easy communication. 

This is a link to a piece written about the Yellow Arrow Project

Sabrina Brown

Chapter 7: Divergent Streams

Chapter 7 of our textbook was about basically everything else that hadn't been covered yet, or divergent streams. I would describe these forms of digital literature as things you would not consider to be digital literature at first. Some examples are virtual reality, performance, installation art, and cinema environments. These forms are all very immersive and have a physical element. I think that virtual reality is the most obvious one in terms of being digital literature, and it gives the author a lot of freedom to create whatever they want and have a lot of control over the viewer's experience. I think that installation pieces and performances would be the least likely for people to recognize them as digital literature, but I think they are the most interesting forms. I think they are extra special because not many people have access to them and everyone's experience could be different. However, this is also limiting, because less people would get to see the art and watching a video online is not the same, which I realized when I did my analysis on Margaret Rhee's Kimchi Poetry Machine.

I decided to look at Teri Reub's Itinerant, which is a locative narrative that takes place around Boston Common, so that if you are in Boston you could follow the map while you listen. When you hover over a spot on the map, audio plays. I found it difficult to follow because parts of the story are pieces of Mary Shelley's Frankenstein (digital authors must really like that book!), while the other parts are a story about an uncle who would randomly come into his family's life and tells them stories and causes chaos. It is also one of those pieces that does not need to be read in order, although I would think if you are walking around Boston Common you would want to go in order by location.


Meg Champagne

Thursday, March 26, 2020

Ch.6 - Network Writing

Networks are both platform and material in electronic literature. Readers need to visit multiple sites to experience the full narrative. The main component of the networking experience is the text but video, audio, images, animations are also included in the process. Network writing also aims to tell a story across its platforms. They often involve writing, solving puzzles and included many forms of social networking. A big aspect involved in network writing is the collaboration. Having group narratives where people can add on different parts of the story creates for a collective activity rather than having one single narrator. Twitter fiction is really interesting to me. It is a pretty new form of story writing that people can come up with a short story in 140 characters of less in a tweet. It's a new way for authors to be more engaged with their readers and can get feedback through the comments It allows for authors to challenge themselves artistically and I really liked this idea.


Chapter 6: Network Writing

Chapter 6 of Electronic Literature by Scott Rettberg is about network writing. He defines network writing as, "electronic literature created for and published on the internet."(152).  Rettberg writes that though video and audio are important aspects of network writing, the main component of network writing is the actual text. Some examples of network writing include: Flarf, home page fictions, email novels, fictional blogs, Twitter fiction, online writing communities, collective narratives, Netprov, and network critiques. After reading this chapter, I realized that network writing is very prevalent in the world around us. A section I wanted to learn more about was Twitter fiction. I feel like tweets are a part of everyday life whether I'm viewing them directly from the Twitter app or if i'm seeing them broadcasted on Instagram, Facebook, or even Tik Tok. I searched for Bogost and McCarthy's Bloomsday on Twitter. I found a deeper explanation of this project on Bogost's website http://bogost.com/writing/blog/bloomsday_on_twitter/ It seems like an interesting concept but I had difficulties finding the actual tweets or even screenshots of the tweets online.


Wednesday, March 25, 2020

chapter 6 network writing

Chapter 6 is about network writings which is literature that is created and published for the internet. Sometimes if requires the user to visit multiple sites to explore the narrative. My first thought with this sentence is how hypertext allows users to explore literature. However it seems in this chapter, Rettburg goes for a different approach of how writing can be a way to explore different network options.

Rettburg writes, "For much of the world, networks are a condition of contemporary life. Their ubiquity has changed the nature of our communications, our style of writing, and perhaps even the way that we structure our thoughts. (152) In my opinion, networking has become such a popular term for today's younger generation. Being about to network means expanding yourself in many aspects such as personally and physically. The way Rettberg sees it, is that authors can work in digital media that allows for them to create a character and face problems in a critical way.

Since the internet is a fully multimodal medium it allows for users to expand themselves like never before. Through social media and all the other applications that come with technology comes with knowing the roles. Contemporary electronic literature has provided us with self-concious literary artifacts, process', and performances. Becoming familiar with these traits has allowed us to have a better understanding of our own engagement with electronic literature.

Cassie H

Tuesday, March 24, 2020

Ch. 6

U found chapter 6 to be very interesting. The chapter begins describing its key topic, "Network Writing". The chapter describes this as "electronic created for and published on the internet" (Rettberg, 152). This can be summed up in a variety of things, blog posts, social media, etc. Rettberg then goes on to describe the internet today, saying that it is full of videos and posts all playing as you scroll down your timeline, stating that the main focus of our attention is about the text. Rettberg makes an interesting point that with all of these new forms of digital media, our reading and writing skills have no increased. "One need not be a Luddite or curmudgeon to recognize problems that networked communications pose: phatic likes in the place of developed interpersonal communication, memes in the place of reasoned argumentation, aimless browsing in the place of immersive reading, perhaps even dialogue with scripted bots in place of interaction of human interlocutors" (Rettberg, 153). I thought that this statement was relevant to my generation and how people go about their time on the internet. This, in my opinion, was very accurate in describing the literary pursuit of action within my generation.

Ryan Donahue

Chapter 6

In Chapter 6, Rettburg dives into the topic of networking writing, “electronic literature created for and published on the internet” (152). By definition, it seems that any piece we’ve looked at thus far could be considered network writing, and there are many arguments to support that claim, but when I think about network writing I think about collaborative online forums such as social media, blogs, and other forms of technology that allow users to contribute to a collective forum. This chapter talks a lot about how people of today view online forms of literature as comic or satirical. Instead of using the internet to peruse the philosophies of Kant or the works of Shakespeare, most people are writing fanfictions or sharing political memes.

But this isn’t necessarily a bad thing for our society. Rettburg notes that “for all of the negative aspects of network discourse, a greater proportion of people spend more of their time writing and reading now than ever before” (153). Additionally, “Network encounters with network styles can be simultaneously critical and comic as there are few things funnier than recognizing absurdity within our lived present” (154). The online discourse that we are sharing today may not be “advanced” electronic literature, but it is still impactful, thoughtful, and influential. Kenneth Goldsmith argues, “what the world needs now is not more language but reframing and reuse of discourse that already exists” (163). There is so much unique, creative, interesting, and endless content on the internet, and it would benefit people to explore many of the writings that exist within it.

I was intrigued by this idea of “reframing” language, so I took a closer look at Flarf. Flarf is a movement that “make[s] use of the Internet as a text-provision technology,” rearranging search engine entries to make absurd and parodical poems. I found a Flarf generator that generated the following poem:

“The following lines of poetry are generated from word frequency tables of a combination of Andrew WK and Rush lyrics from I Get Wet and Permanent Waves, respectively.

 we won't stop.
 because you puke.
 party going.
 you've got to party.
 just between us, i do you that you can feel all coming now my life to direct our loads.
 we'll party til you got.
 because we want.
 we won't stop.
 because you beautiful girl.
 you're everything that fight.
 you you're trying to get off on high never listen to get to die.
 we've got to go because we never kill stab we want.
 we will party going.
 you've got to some for superior cynics who dance we were nothing new.
 it's tight in chains- a red red red red red.
 you want the world out of integrity.
 for one another by such slender threads.
 we take what i say - watch him fall? making wars - we never do what we won't try and it's time coming back i saw you.
 open and have a choice.”

The Flarf poems seem like they could be authentic at first, but fairly quickly turn into absurd and laughable gibberish. Flarf seems to me like a good metaphor for the Internet itself.


Monday, March 23, 2020

Networking Chapter 6

In Chapter 6 of Electronic Literature, Rettberg describes Network Writing as being "created for and published online" (152). At first it seemed like this broad definition was just defining Electronic Literature in general, and it wasn't quite clear how it differs from other forms. As I read, it began to be clear that Network Writing uses the internet for the connective purpose rather than like a display. The reader can access multiple points online and all of the internet can contribute in some way. This can mean social media writings, which I remember thinking wasn't exactly literature, but digital, could become Electronic Literature.

I decided to look into flarf poetry and found the story on Poetry.org. According to Gary Sullivan, one of the original flarf poets, flarf began with a poetry scam contest in which Sullivan's grandfather died thinking he had won. From there, Sullivan and a few others posted nonsense poems and even used Google search results to create them. The poems were ridiculous, and had intentions to be offensive. From there, the poems gained a seriousness in use and the term "flarf" was created. It wasn't until 9/11 that the poetry seemed to calm. Afterwards, the intentionally offensive and absurd form of poetry became a difficult medium of expression. In some way, all the poems referenced the aftermath of 9/11, but hardly to make fun or offend. The dynamic of the poems shifted slightly at this time. Sullivan himself claims to have been less active on flarfting ever since. I thought this was an interesting story and I read it hoping that he would avenge his grandfather, to which I think his success might have. I also think the poems are sort of fun to read but I became tired of reading nonsense after a few of them!


Chapter 6

Network writing is defined as "electronic literature created for and published on the Internet" (Rettburg 152). The characteristics of network writing include having a reader visit different web pages in order to read the full story, examine the Internet as a whole, and a way for collaboration. Rettburg views the Internet as a "fully multimodal medium" (152), that contains various elements of images, sound, and animations. In Rettburg's section "Antecedents to network writing" he highlights N. Katherine Hayles Writing Machines which coined the term "technotext". Technotext is a term to describe "a work of writing that interrogates the inscription technology used to product it (155). Network writing also involves forms of collective writing and in the UK the Mass-Observation movement was started to create an assembly of "an anthropology of ourselves" (157). The Mass-Observation movement contained a collection of writings from multiple members ranging from questionnaires to diaries. Rettburg highlights various forms of network writing including fictional blogs, homepage fictions, and email novels. Fictional blogs are a form of network writing that focuses on the personal writings of a writer. Fictional blogs use various methods and can be used as fictional or hoaxes. Rettburg discusses the Kaycee Nicole blog which was about "her fictional struggle fighting leukemia" (169). Homepage fictions primarily use HTML and combines fiction writing with coding. Some examples include The Fall of the Site of Marsha which uses a homepage to tell the story of various characters. Email novels was used during the 1990s and early 2000s. The first major literary work that used email novels was Rob Wittig's Blue Company which is about a copywriter sent to the past.

The literary work I focused on was Rob Wittig's Blue Company. When I read the first letter it was similar to hypertext fiction because the story did not follow the traditional story format. The text is similar to a email because of the short sentences and brief statements. The format of the homepage has the reader read from the bottom of page and work their way to the top. Each section also resembles an email because the header was similar to the subject line on a email.

Tim W

Sunday, March 22, 2020

Chapter 6 + Flight Paths

Chapter 6 discusses network writing which is described as “electronic literature created for and published on the internet” To me this doesn’t make sense since there is a lot of writing written for the internet and print so does that not fall under this category? I feel almost everything in todays literature-based projects would be considered network writing with the exception of hand written stories (which in todays world still end up online). Rettberg mentions how network writing impacted and changed the way we write and communicate and I believe that the digital era and “network writing” has created endless possibilities to further writing styles which opens the door to new genres (like e-lit) that were not around before technology advanced. Network writing impacted literature in an amazing way in my opinion and it gives the writer way more creativity than ever before. Technology is still and always will be evolving and literature will always have it routes but it will continue to change with technology.

I enjoyed “Flight Paths” by Kate Pullinger & Chris Joseph, although the stories to choose from are fairly short however the stories told are very interesting and wish they continued and went deeper. Although this story was not very interactive (you only have to click a button near the text of each page) the motion graphics, images and video creates an enjoyable experience. I especially liked the series of continues images/videos in “Yacub in Dubai” the other 4 stories unfortunately didn’t have long gaps of images/videos like this story did and it made it more enjoyable to read and easier to follow what the story was talking about. Moving to Dubai in the early stages of its existence must have been a crazy experience and to see how much Dubai has grown in the world.

chapter 6

Chapter six of Scott Rettberg's Electronic Literature describes network writing. He defines it as "Electronic literature created for and published on the Internet." He also says "It may require readers to visit multiple sites to experience that narrative."Networks are often contemporary works, using communication and social interaction. Electronic literature can be utilized now as a critique of humans within technology. Within network writing comes the developments in technology that make the writing how ti is today, Rettberg describes all the "bells and whistles" that come with the Internet today. This parallel with electronic writing means more diverse textual forms such as hypertexts and network writing. I looked at Hypertext of the Unknown which proves the point of diverse tools on the Internet. The story is made up of a variety of not only stories but ones from different places in the world and utilizes both writing, audio clips and videos. These different forms make the story more unique. I liked how the stories were their own parts but intertwined. I also liked how it was organized and on the side of the story, you could see what tools were available such as audios and videos. The story brought you to different websites to create the effect of traveling. I thought the work was very interesting.

Kendall Arkay

Chapter 6

Chapter 6 talks about something called network writing. In the beginning of the chapter I was very confused. Everything was broad and the initial definition given was just “literature created for and published on the internet”. Not until Rettberg gave examples of network writing did I get the concept an example of what it might look like. The first examples were of things like Flarf. Flarf poetry was poems made out of the language used in web searches. The concept was for a poem to be made about the medium being used to compose that very poem. This theme begins to lose me as more examples are introduced. I believe the actual purpose of network writing is to make literature out of programs used to communicate. Things like email stories and twitter stories are network writing. These stories are can get overlooked because there is little editing. After writing this I could go write my own network writing. If I were to write a continuing narrative on this very blog it could be network writing.
The only example I can think of is a specific tweet format I’ve seen where the “tweeter” uses a dialogue situation. An example could be
Me: “my stomach hurts”
My mom: “cuz you always on that damn phone.”
This is a small example of what I mean but there are much funnier and more relatable examples all over twitter.

The Unknown is a massive collaborative hypertext novel. The premise of the novel is that three people are doing a book tour across the United States while writing their novels. The story seems to challenge what people consider literature. People traditionally think of literature as written works and disregard digital literature. However, this hypertext takes an interesting approach to this debate. This hypertext has many different ways to read the story. There are six different links and six colored squares to click on. Each of these links brings you to different parts of the story. One way is a map of the country. Clicking on different points on the map will allow you to read part of the story in that location. Another way to read the story is by clicking on the “people” link. This one brings you to a massive list of different people in the story. The hypertext also has many different types of media, from videos to pictures. This hypertext is probably the biggest we have looked at in this class. However, this makes The Unknown hard to understand: there are so many options to choose, so many characters, and so much content it is overwhelming to me. The lack of guidance and direction is nothing new in the world of hypertext, but the amount of content within this hypertext is unique. In other hypertext it is easier to find the story because there are fewer options, but in this one I kept finding new pages. For me the hypertext had too much content: understanding the story and knowing all the characters was difficult. Normal it is easy to figure out the story of a hypertext, but with this one it took much more effort. To completely understand this work would take weeks and keeping track of what you have already seen would be annoying. 

Saturday, March 21, 2020

Chapter 6: Network Writing

Scott Rettberg defines network writing as "electronic literature created for and published on the Internet" (152). I found this a little confusing because of how broad it sounds. Isn't almost all electronic literature created for the Internet? Then I realized that Rettberg is talking about platforms on the internet, or networks. The network, for example a social media website, adds to the meaning of the work, much like all other digital literature. The medium forms the message. I think that network writing is the most likely to get overlooked as not being "real" literature. Anyone can create content, and the internet makes it easier for people to find your work. I think people might not consider social media posts literature because someone could post something without the intention of it being "art." Does intention determine if something is literature or not? You would certainly have to filter through many social media posts to find something that could be considered literature, but I have noticed that it has become more popular for young women on instagram to make their account become like a blog. On each post there is always a very long blog-like caption and you can tell their posts are very curated.

I looked at the Youtube channel/blog lonelygirl15. The videos are from 12 years ago and I had heard of it before because many people believed it was a "hoax" and I was very confused as to what that meant. Basically, the videos start out as vlogs from a home-schooled teenage girl named Bree and everything seems innocent and normal. Eventually, the storyline becomes much more complex and you learn her family is a part of a secret cult. Bree is not a real person and the storyline is fictional, but that is not clear to viewers. This makes me think of how easy it is to trick people on social media. While most people do not lie about everything, they specifically pick what details they want to share in order to create a type of storyline of their lives

Meg Champagne

Sunday, March 15, 2020

Network Writing

Chapter 6 of Scott Rettberg’s “Electronic Literature” discusses the topic of network writing, arguably the most familiar type of digital literature we have discussed in this class thus far. Rettberg states that “networks are a condition of contemporary life…. [network writing] has changed the nature of our communication, our styles of writing, and perhaps even the way we structure our thought” (152). I believe this description is extremely accurate. Communication in this day and age is the fastest we’ve ever experienced, making emotion and thought instant. Our writing style however, has suffered greatly. With texting and tweeting and online platforms such as Wattpad, anyone can write anything they want to, it doesn’t even have to be any good. If you asked a room full of a hundred people who read everyday, I’ll bet most people would think that they don’t read, not really, because to them those texts and messages aren’t sophisticated reading. However, by definition, it is reading nonetheless. So although we as a society believe we no longer read, the contrary is true. 
I wanted to bring something to the table that Rettberg didn’t mention in his chapter. If twitter is considered digital literature then I believe instagram would be as well. There is an account that has been created recently, @socialdistancegallery, which is an online account designed to “host” BFA and MFA thesis shows amid the coronavirus pandemic .Created by Benjamin Cook, a painter based in Cincinnati Ohio, the account was published two days ago and has already amassed over 13,400 followers. Most senior art students will not be able to have real shows with attendees due to social distancing and self-isolating. This is a creative solution which has allowed even more people to see these student’s hard work. Anyone can submit photographs and brief writing about their show, allowing their audience to go from zero to the thousands. 


Wednesday, March 4, 2020


HAPPY GRADUATION to the VERY first class of TBD majors!!! (I wish we could celebrate in person!)