Week 2

6/11 -

Class Plan

1. Presentation and discussion of Morris
Dawn Sparks
Adelaide Morris-Chapter 1 NMP
Sparks, Debra D.

2. Discussion of Memmot and Stefans
These two works received early critical attention. What aspects of Lexis to Perplexia lend themselves to critical analysis? Why do you think this work began to convince some scholars of the feasibility and serious of digital literature? Stefans' work draws from the traditions of visual and concrete poetry. How does this lineage become a part of digital literature? Does this kind of animation reflect "born-digital" aesthetics or do you see its relation to print experimentalism as more prominent?

3. A new work
Eden Hade
"Fitting the Pattern" Christine Wilks
Wilks MSA
4. The Memex
If for many years, our images of the mind found correlates in the book or the library, Vannevar Bush's conceptualization of the memex anticipates the web and "personal" computers, as well as suggesting some of the political/ideological and perhaps psychological considerations at the intersection between human, languages, and technology. What parts of the memex seem plausible? In what ways has the memex been realized? What are the links with literature?

Kinetic, Screen

Memmot, Talan. Lexia to Perplexia.

Stefans, Brian. The Dreamlife of Letters.

Morris, Adalaide. “New Media Poetics: As we may think” <NMP>

Bush, Vannevar. “As We May Think [Memex]” <web

Day Plan:
1. Presentation (15 min)
Jose Otero
Kate Pullinger & Chris Joseph: Flight Paths
Jose MSA

2. Hayles
Liz Jacoby
Hayles: Chapter 3, The Body and the Machine
Jacoby, Elizabeth
3. YHChang
Discussion of how this minimalist / cinematic aesthetic works (or fails). Analyze the interplay between screen-space, words, visual pacing, and music. What would it be like to just the text from such a work?

4. Babel and Escha
Perhaps prefiguring the mashup, this "versus" piece involves collaboration and commentary on the banal in the urban. Perhaps the text plays a less significant role than in YHChang. Is it, nonetheless, aesthetically effective? Why or why not? (Let's temporarily set aside the question of whether it is literature as opposed to new media art etc.)

Assigned Texts:
Time Based/Visual

Last Days of Betty Nkomo <web> and one other piece from yhchang

Babel and Escha. Urbanalities. ELCv1

Hayles., Chap. 3 <EL>

Sarah Young
Hayles Chapter 4
Young CAP

2. Bigelow
Consider Bigelow as a narrative artist incorporating elements of indeterminacy, interactivity, and visuality. Consider the title of his website: webyarns.com. How do his works compare to pieces by Wilks or Pullinger? Are we in the same domain? What audiences is he addressing? What would we call this sub-genre? Recall Bigelow's worry about "industrial" digital literature. Relevant?

The Last Performance: Shape and Content

4. Huth
To what extent can visual e-poetry raise our awareness of an omnimpresent visuality in textual media that, while arguably inaugurated by print has also been downplayed by standarization? In what ways does Huth exploit visuality qua visuality, in what ways does he explore the intermediation of the digital?

Assigned Works:
Bigelow, Alan. Brainstrips and one other piece from Webyarns

Huth, Geoff. Endemic Battle Collage
Hayles., CHap 4. <EL>



Jessica G.
Annie Abrahams's "Separation..."
Jessica G. MSA
2. Bill Seaman
Angela Aliff
Approaches to Interactive Text and Recombinant Poetics
Angela's CAP

3. Recombinant / Text Generation
Ault, Chris. Hot Air. || http://www.talespin.com/hotair/project.html ||

Wilde, Nanette. Story Land ELC || http://collection.eliterature.org/1/works/wylde__storyland.html

4. Kinds of Generativity
Funkhouser, Chris. “ Text Generation” Prehistoric Digital Poetry <ERes ||

Glazier, Loss. “Io Sono at Swoons” <NMP> || http://vimeo.com/12954084 http://epc.buffalo.edu/authors/glazier/java/iowa/ ||

Assigned Texts

Ault, Chris. Hot Air. || http://www.talespin.com/hotair/project.html ||

Wilde, Nanette. Story Land ELC || http://collection.eliterature.org/1/works/wylde__storyland.html

Seaman. Interactive Text and Recombinant...” <FP> p. 227- || http://www.electronicbookreview.com/thread/firstperson/languagevehicle ||