rachaelsullivan + lit2.0   96

The Rise Of The Screenshort™ - BuzzFeed News
What’s a Screenshort? Essentially, it’s a chunk of text, screen-shotted, and embedded in a tweet. It’s become an extremely popular way to share a passage from a story. You could call it a Tweetcap, maybe. But I’m going with Screenshort.
socialmedia  twitter  alt-lit  lit2.0  screens 
march 2015 by rachaelsullivan
Reading as information control (Tan Lin interview, 2014)
"literature is an operation. its general aim is to function like the mass media. " "In a world that we increasingly configure or visualize not with but as data, is there much difference between a couplet and a bullet point? ... the edges of a new literary field look a lot like info management systems"
literature  lit2.0  media_history  textuality  conceptual  experimental  poetry  difficult-lit  from delicious
april 2014 by rachaelsullivan
Gauss PDF - GPDF107/GPDFE006 : Angela Genusa & Benjamin Laird : Composition - GPDF107/GPDFE006 : Angela Genusa & Benjamin Laird : Composition
What do you get when a C16th typesetting manual meets Gertrude Stein on composition and @benjaminlaird? "Moxon and De Vinne typeset Stein letter by letter, word by word, line by line..."
stein  pdf-lit  conceptual  remix  printculture  16thc  experimental  collage  lit2.0  from delicious
april 2014 by rachaelsullivan
“This is not writing.” | YDN Magazine
In some ways, electronic literature is like a particle system. It is pulsating with creative ambition and possibility, but some of that enthusiasm gets tangled up in obstacles like obsolescence, technophobia, and general misunderstanding. Even so, it has the potential to be the medium we use to read literature in the future.
CAVE  installation  digitaltext  art  lit2.0  pressman  cayley  e-lit  from delicious
march 2014 by rachaelsullivan
A Breath of Fresh Air: The Continued Rise of the Artist E-Book | Beyond the Printed Page: Museum Digital Publishing Bliki
The idea of making work during a “format war” (which is what it feels like is happening with e-books right now) is not very attractive to us. We generally have an ambivalent attitude towards very new technology. We just want to focus on our work.
alt-lit  ebooks  lit2.0  DIY  pdf-lit  book_art  from delicious
march 2014 by rachaelsullivan
jörg piringer - abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz is a sound toy, a performance tool and an art work in its own right. You can play with the letter-creatures and watch and listen how they interact with each other or use them to produce soundscapes like you would with an electronic musical instrument. abcdefghijklmnopqrstuvwxyz blends art, biology, fun and physics to create a unique, dynamic and interactive sound ecology.
lit2.0  apps  games  sound  e-lit  from delicious
december 2013 by rachaelsullivan
“Greatness” is traditionally just an ideological function created to make sure that women and minorities and young people and poor/uneducated people (ones who haven’t read the canon) don’t go around writing books and expecting their voices to be heard.
canon  alt-lit  lit2.0  literature  feminism  from delicious
november 2013 by rachaelsullivan
From Snapshot to Screenshot
The screenshot is unexamined in current critical scholarship, despite appearing in visual culture with more frequency and purpose. And while the screenshot has inherited many behavioral quirks from photography, it also comes with unique material and conceptual circumstances and issues. As a result, this text and series of pictures draws on a multiplicity of theories and concepts, including: software and photography studies, interface and media theory, ideas on embodiment and user agency, as well as a personal investigation into the screenshot’s creative potential. Essentially, this thesis unwinds a string of speculative models meant to initiate theorization of a new creative practice, without claiming any one model as the conclusive approach.
netart  userfriendliness  glitch  IP  softwarestudies  lit2.0  screens  interface  users  screenshot  from delicious
september 2013 by rachaelsullivan
WHY spam? | Jacket2
Just as artist Kurt Schwitters said, “I don't see why (rubbish) couldn’t be used as painting materials just like factory-produced paints,” I don’t see why spam (e-mail spam, blogspam, usenet spam) can’t be used as material for poetry.
alt-lit  lit2.0  poetry  spam  from delicious
september 2013 by rachaelsullivan
Don't look for e-literature in novels | Books | guardian.co.uk
The novel is by no means spent, and is by no means redundant as a means of questioning the new matrices of community that shoot in all directions from the web, but the literary revolution, if there is one, will happen in forms that allow for reflection, anxiety, hope, experiment, play, comment, criticism, writers and texts to shuttle horizontally amongst themselves, and the paths that alt lit is beginning to explore allow that to happen. As such they offer a more complete and subtle portrait of the modern mind that receives, edits, samples, remixes, reformulates and sends a semiotic hailstorm boomeranging into the ether.
alt-lit  literature  lit2.0  roggenbuck  flarf  internet  novel  e-lit  from delicious
june 2013 by rachaelsullivan
Why have authors written the IT revolution out of the story? | guardian.co.uk
This blog, and thousands like it, is part of the IT revolution that's changing the world of books beyond recognition. I've said it before, but it bears repetition: not since the late 15th century, specifically the Gutenberg-Caxton innovations of the 1560s and 70s, has there been such a wholesale transformation of our literary environment. Yet, although the literary community – in the broadest sense – is part of this paradigm shift, it is odd, and slightly baffling, how little reference is made to it in poetry, drama or fiction. Jeanette Winterson published The Powerbook in 2000, exploiting emails as a genre. In India, Chetan Bhagat (One Night @ the Call Center) and Aravind Adiga (The White Tiger) have flirted with the socio-economic impact of the new technology on Indian life. Otherwise, I cannot think (perhaps readers can help out here) of a contemporary scene or character whose narrative or development owes much, if anything, to the new technology.
carr  literature  lit2.0  digitalculture  publishing  from delicious
may 2013 by rachaelsullivan
People will remember me more for my online presence Than how i interacted with them in real life I frequently share pictures and like status updates In this way i give back to the community And forge unbreakable bonds
alt-lit  facebook  lit2.0  poetry  internet-culture  internet  from delicious
april 2013 by rachaelsullivan
poetry* being spread with guerilla tactics on the internet: poetry* on twitter, email, gchat, amazon book reviews, and live chat customer service windows: poetry* as wikipedia entries, blog comments, trackbacks/pings, google bombs, and youtube video responses: poetry* as facebook statuses, facebook groups, facebook notes, facebook events, facebook pictures, facebook videos, and facebook friend requests
twitter  alt-lit  manifesto  facebook  lit2.0  roggenbuck  poetry  internet-culture  internet  from delicious
april 2013 by rachaelsullivan
People will remember me more for my online presence
Than how i interacted with them in real life
I frequently share pictures and like status updates
In this way i give back to the community
And forge unbreakable bonds
alt-lit  poetry  lit2.0  internet-culture  e-lit 
april 2013 by rachaelsullivan
code {poems}
Code can speak literature, logic, maths. It contains different layers of abstraction and it links them to the physical world of processors and memory chips. All these resources can contribute in expanding the boundaries of contemporary poetry by using code as a new language. Code to speak about life or death, love or hate. Code meant to be read, not run.
newmedia  proceduracy  programming  codework  lit2.0  poetry  code  criticalcode  from delicious
april 2013 by rachaelsullivan
Pool is an online platform and publication dedicated to expanding and improving the discourse between online and offline realities and their cultural, societal and political impact on each other.
zine  alt-lit  lit2.0  internet-culture  from delicious
april 2013 by rachaelsullivan
gesture | thegorillapress.com
gesture started because there are so many writers in the world--on the internet and otherwise—and this magazine wants to present some of them. gesture doesn't necessarily want a singular aesthetic, but it is drawn to work with immediacy, surprise, and the bizarre.
zine  alt-lit  lit2.0  internet-culture  from delicious
april 2013 by rachaelsullivan
‘Unlike’: Forms of Refusal in Poetry on the Internet – Pool
poetry interrupts, derails, shifts; it does not reinforce... [what] are the implications of poetry’s choice of continuing established traditions or of refusing them, in light of a new strand of internet-based poetry that has emerged over the past half-decade or so. The possibilities for reversing this situation afforded by the Internet are obvious and probably do not need restating. [...] The power and innovation of this poetry stems from this moment of ambivalence occurring on all levels of its practice – it feels something like a pause, a hesitation hanging in the air after a voice is interrupted. PURPOSE: If we can say that in poetry the genuine tradition is anti-tradition, and that continual overthrowing of entrenched styles is desirable, then it is worth looking at exactly what form of interruption this new strand of poetry proliferating on the internet takes, and how valid it is in it positing itself as alternative writing.
lit2.0  experimental  poetry  internet  conceptual  flarf  uncreativewriting  from delicious
april 2013 by rachaelsullivan
A Walkthrough of Total Walkthrough | Jacket2
Crawford is one of the best artists I know of who can speak to the relationship between poetry and algorithm: “I guess in the history of poetry we've always called these 'forms.' For example here's the algorithm for a villanelle: A1bA2 abA1 abA2 abA1 abA2 abA1A2. With something like ‘Link,’ the notion of algorithm seems much more transparent, as they are literally instructions for the computer to follow but if we are to take the definition of an algorithm as basically the rules that govern something, then most of poetry's history is highly algorithmic.”
criticalcode  digitalpoetry  codework  lit2.0  poetry  code  algorithm  from delicious
april 2013 by rachaelsullivan
Literature Is Not Data: Against Digital Humanities - 10/2012
Meaning is mushy. Meaning falls apart. Meaning is often ugly, stewed out of weakness and failure. It is as human as the body, full of crevices and prey to diseases. It requires courage and a certain comfort with impurity to live with. Retreat from the smoothness of technology is not an available option, even if it were desirable. The disbanding of the papers has already occurred, a splendid fluttering of the world’s texts to the winds. We will have to gather them all together somehow. But the possibility of a complete, instantly accessible, professionally verified and explicated, free global library is more than just a dream. Through the perfection of our smooth machines, we will soon be able to read anything, anywhere, at any time. Insight remains handmade.
information  textmining  borges  dh  lit2.0  data  literature  printculture  algorithm  from delicious
april 2013 by rachaelsullivan
Can Dead Flesh Be Good Flesh | Electronic Literature | Jesse Stommel  
Web-based texts do not command attention in the same way that books and films do. They invite us to (or even demand that we) do other things with our eyes, brains, and bodies even as we engage with the work. At current, as I write this, I have 9 windows open on my computer, each vying for my attention. Additionally, the files on my desktop are visible behind the windows. Some of these windows have several frames in further competition. Advertisements. E-mail. Documents. Widgets. Chat interfaces. What effect do each of these have on how I might engage a digital text? Do each of these layers of distractions serve to erode the flesh of the digital text?
textuality  digitaltext  lit2.0  e-lit  from delicious
march 2013 by rachaelsullivan
Between Page and Screen
Between Page and Screen has reinvented visual poetry, doing so by displaying hieroglyphs that humans can read only through the eyes of robots. Each coded sigil resembles one of the cellular automata that a mathematician might find in the game of life—except that each glyph has become a cipher for an epistle that explores the sound of words, then explodes these messages into shrapnel. Such a book heralds the virtual reality of our own poetic future, when everyone can read a book while watching it play on television, each hologram standing in its cone of light, hovering above the open page.
books  augmentedreality  lit2.0  experimental  ebooks  e-lit 
march 2013 by rachaelsullivan
Aupajo/oulipo · GitHub
Oulipo gives you tools to write constrained stories and poems with Ruby.
digitalpoetry  oulipo  ruby  lit2.0  experimental  procedural 
february 2013 by rachaelsullivan
How it works I: technical supports | Jacket2
"Poetry" has become a place-holder for other kinds of activity that include highly attentuated forms of writing, but also, increasingly, other things. At the outer edge, one thinks here of pieces like Kieran Daly's Tentatively nullpropriated assay from Gauss PDF's 36 (missed by two), a ZIP file that decompresses into a folder whose subfolders appear to divide the work into stages suggestive of the chapter headings of a book or the acts of a play. This is one of my favorite pieces of "writing" from the past two years. But what does it mean to "read" it? The directory presents a problem for reading: because of its structural position, it can hardly be called "content" -- just as the table of contents itself is rarely considered to be part of a work, figuring instead as paratext. This quasi-textual, quasi-technical quality -- is it content? is it structure? is it text? is it object? -- corresponds to what I'm trying to describe as a technical support.
textuality  reading  lit2.0  experimental  difficult-lit 
february 2013 by rachaelsullivan
Kristen Gallagher on Coding Poetry : Harriet Staff : Harriet the Blog : The Poetry Foundation
We continue to be excited by the emergence of smart digital poetries and sophisticated critical discourse to match.
digitalpoetry  codework  lit2.0 
february 2013 by rachaelsullivan
Twitter / Horse_ebooks: we shall and we will and we ...
we shall and we will and we will and we shall and we do and we care and we live and we love and we care and we shall and we care and we
twitter  stein  lit2.0  memes 
february 2013 by rachaelsullivan
In theory: the unread and the unreadable | Books | guardian.co.uk
Unlike ordinary language, which is a means of communication, literary language resists easy, and even complete, comprehension. Words become visible; the bloody things keep getting in the way. From this perspective, the literary is what can never be taken as read.
reading  lit2.0  experimental  materiality  difficult-lit 
february 2013 by rachaelsullivan
Literary Studies in the Digital Age | MLA Commons
anthology with the intention of providing a primer to core tools and techniques for computational approaches to literary studies
dh  humanities  lit2.0  textmining  data 
january 2013 by rachaelsullivan
Occupying MLA - ProfHacker - The Chronicle of Higher Education
Was it literature? To our delight, the Twitter aftermath contained solid literary criticism about character, voice, plot, our writing of women, et cetera. After decades of campaigning for electronic literature to be viewed as literature, this thoughtful response feels like a huge victory, and the points are well taken. As the second MLA e-lit exhibit has proven, digitally born poetry and narratives are now an accepted part of literary study. We think netprov is literature — collaborative and participatory literature. We did the best we could.
digitalpoetry  writingspaces  netprov  lit2.0  experimental  socialnetworking  e-lit 
january 2013 by rachaelsullivan
"Clickthrough Culture and Difficult Literature" by David Huntsperger
I don’t think literature has exhausted its usefulness. In fact, I’d like to make the modest argument that, in the era of clickthrough culture, literature serves an important new function: It offers a model of reading that is more luxurious, more intellectually engaging, and more challenging than the emergent Internet norm. I would argue that this is the case even if you read literature on the web or on a mobile device or an e-reader. Though there are interesting literary experiments that use web technology to advantage, most works of literature are still the products of a different, deeper (to borrow Carr’s metaphor) kind of literacy, even when consumed on an e-reader or tablet.
conceptual  goldsmith  pynchon  woolf  carr  poetics  literature  lit2.0  experimental 
december 2012 by rachaelsullivan
Weird Poems essay by Jack Anders (Published online 2005 – Guest edited by Gabriel Gudding) « MiPOesias
The situation of poetry itself is very weird today. We live in the generation in which poetry is coming to terms with the internet. Poetic textuality is entering the internet. What the internet means is that more text, more writing, is simultaneously displayed and preserved than at any prior time in human history. There is more writing in existence, saved in the virtually limitless storage capacity of servers in cyberspace, than at any prior time. It is, in one sense, a richness, a plenitude. But there is a mysterious sense of ghostly loss that goes with it. For the presence of so much writing, so much sheer volume of poetry, out there in cyberspace, foregrounds the question for us, for you or me, the individual self, the individual reader: what is it for? How does one use it? What does it mean?
textuality  poetry  lit2.0  overload 
july 2012 by rachaelsullivan
Carles is Dead: Facebook changes and dies. Tweeple Mourn.
Found this poem that expresses my confusion with social networking:

A Click Too Soon
A Self Aware Poem by Social Media Blogger, Carles

Alt once ruled the land.
Then alt cntrl delete.
The tweeple blended into machines.
We restarted but forgot to clear our History.
The result was not as tasty as the cookies looked.
Everyone in our network saw the cookies.
They tried to eat them,
but Marky Mark Zuckerberger took them away.
'Tweet' your way out the door.
Doubters need not App-ly.
The MacLappy remained, the MacLappy remained.

Hope that helps you overcome disconnectedness as it has helped me overcome the mourning of my death.

carles  facebook  lit2.0  alt-lit  memes 
may 2012 by rachaelsullivan
Reading Hypertext and the Experience of Literature | Miall | Journal of Digital Information
Words on the printed page probably remain the most potent resource for critical self-reflection. While this might involve self-consciousness as one phase of a broader response process, self-consciousness as Lanham refers to it is quite different from self-reflection. This seems to require alternating phases in response, as Oatley (in press) has suggested: "We cannot always be moved and think about something in an observational way at the same time. What we can more often do is to move in and out along the continuum of emotional distance, be fully engaged emotionally at one moment, and then in the glow of that emotion, think about the experience in a more distanced way." This view also challenges the notion that our usual mode of fictional reading is that of complete absorption, or a trance-like state (e.g. Birkerts 1994).
literature  lit2.0  hypertext  reading 
may 2012 by rachaelsullivan
Dan Hoy: on Flarf: The Virtual Dependency of the Post-Avant and the Problematics of Flarf
All of this is not meant to vilify Google per se, but to call attention to the problematics inherent in its claim of ‘Don’t be evil’ as a guiding principle, as well as in the Google-sculptors’ implicit acceptance of that claim, and complicity with it, by using Google as a poetic generator without also calling that use into question. If it were just a concept in a theoretical vacuum Google might be inclusive in scope; but its sorting principle is exclusionary and artificially hierarchical, manipulated as it is by its creators and the people who create its content in a joint effort to facilitate marketing (in addition to being limited by its technological deficiencies).
lit2.0  google  flarf 
april 2012 by rachaelsullivan
Poetics of Programming - wiki.paulswartz.net
Technologies like writing are "utterly invaluable and indeed essential for the realization of fuller, interior, human potentials."[19] We cannot conceive of a modern world without writing and literature. Understanding how we can use those technologies allows us to make more powerful, more beautiful, better works of literature. Here, I have only outlined some of the aesthetic values that programmers currently use to judge programs. I hope that by following these aesthetic theories and applying their ideas to the computer, we can make more powerful, more beautiful, better computer programs as well.
lit2.0  writingmachines  code  programming 
april 2012 by rachaelsullivan
The Code is not the Text (unless it is the Text) - John Cayley
Both Cramer and Hayles recognize a multi-level hierarchy of codes without elaborating or distinguishing them in the course of their discussions. Within the field of networked and programmable media, at the very least, we can acknowledge: machine codes, tokenised codes, low-level languages, high-level languages, scripting languages, macro languages, markup languages, Operating Systems and their scripting language, the Human Computer Interface, the procedural descriptions of software manuals, and a very large number of texts addressed to entirely human concerns.
- - - -
The emergent materiality of the signifier - flickering, time-based - creates a new relationship between media and content.
programming  digitalpoetry  hayles  cayley  lit2.0  code  e-lit 
march 2012 by rachaelsullivan
How E-books Have Become a New Literary Form - The 2011 Culture Awards -- New York Magazine
Amid all of 2011’s obits for the 300-page object, it’s easy to forget just how limiting the one-size-fits-all template has been for publishing (that one size being about 100,000 words). Why should magazine articles, horror stories for children, and scholarly theses all be molded into one Procrustean bed? The great hidden virtue of e-books—hidden beneath the chatter about their effect on the bottom line—is that they allow stories to be exactly as long as we want them to be.
lit2.0  literature  reading  ebooks  books 
february 2012 by rachaelsullivan
"literature has merged ..." (A. Liu) – Philo Wiki
The vital task for both literature and literary study in the age of advanced creative destruction, I believe, is to inquire into the aesthetic value -- let us simply call it the literary -- once managed by "creative" literature but now busily seeking new management amid the ceaseless creation and re-creation of the forms, styles, media, and institutions of postindustrial knowledgework. In the regime of systematic innovation, is the very notion of the literary doomed to extinction even if -- or, rather, especially if -- it begins to venture "creatively" into the province of knowledge work, if it dares to imagine a literature of the database, spreadsheet, report, and Web page? [...] What is the future of the literary when the true aestheticism unbound of knowledge work -- as seen on innumerable Web pages -- is "cool". [...] No more beauty, sublimity, tragedy, grace, or evil: only cool or not cool.
liu  lit2.0 
november 2011 by rachaelsullivan
Johanna Drucker - Un-Visual and Conceptual
No violation of the protocols of literary production or identity can even register as novel. Not now, not any more. Not since the mad dash 20th century self-conscious modern assault on all convention and then the assault on the assault as its own convention and so on enacted endlessly iterative upping of the continual cycle of violence against established protocols.[...] Conceptual poetics is a marginal practice. But it has the strength of convictions, a capacity to make striking gestures that call the rest of literary activity to attention. Not by being "new" but by being a current, self-aware, focused on what is happening now, conceptualism exposes assumptions. Poetry (by which I mean any form of self-conscious writing) is a means to call attention to language. Set it apart. Call it art. And in so naming, preserve the territorial demarcation that says, This Is Aesthetic.
drucker  visual-lit  experimental  lit2.0  to_read  conceptual 
july 2011 by rachaelsullivan
When books ain't books - The Bookish Blog
How heavy is Wikipedia? How many metres wide is it? Who wrote and edited it? We don’t ask these questions. We do ask how reliable it is — but as a kid in the eighties, my family had Britannicas from 1964. According to that arbiter of truth, the moon was a distant and untrammelled body, a virgin of the night sky. This is why Wikipedia is the most reliable encyclopedia ever written.
The point is, the encyclopedia is an idea that was necessarily limited by its form. It had to iterate through a number of forms to arrive at its present (and perhaps not final, but still infinitely better) form: a web application.
books  lit2.0  textuality 
january 2011 by rachaelsullivan
liquidbooks / FrontPage
Culture Machine Liquid Books is a series of experimental digital ‘books’ published under the conditions of both open editing and free content.
lit2.0  web2.0  books 
january 2011 by rachaelsullivan
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