Sparks,+Debra+D.


 * Morris, Adelaide. "New Media Poetics: As We May Think/How to Write." //New media poetics: contexts, technotexts, and theories//. Cambridge, Mass.: MIT Press, 2006. 1-34. Print. **


 * Critical Article Presentation—Dawn Sparks **

Morris begins her text by first connecting the ideas of our two types of knowledge. She says the “first is the knowledge that Stein says ‘everybody knows’: it’s in our fingertips and attention spans, habits, suspicions… The second is book knowledge, cultural doxa, canonical convictions, and common sense” (3). Morris asserts that our century has gone beyond this to develop what she terms a “synergy” between human beings and intelligent machines. This synergy has paved the way for a new type of literature, e-lit, and its subset, e-poetry. Her introductory chapter, and in fact the entire book, function as an introduction to this new medium called “e-poetics.” Through her article, Morris guides readers away from a discussion of the narrative and into a discussion of what poetry is and how e-poetry differs from traditional poetry. Morris says, “Unlike hyper-text narrative, the digital poem does not normally depend on lexia or blocks of semi-autonomous texts joined by hot links…and unlike traditional print poetry, …new media poems are not often lineated or rhymed, do not necessarily maintain stable or consistent configurations” (7).
 * __ Overview __**

She repeats throughout the article the importance of interactivity, asserting the importance of the interaction between the reader and the new media poem. The “reader” is not just one who reads the poem but one, who interacts with it, changes it, amplifies it, and transforms it into an “event.” The article goes on to inform readers that new media poems are often collaborations between writers, visual artists, and computer programmers and often circulate on the web. Morris closes by dividing new media poetry into three categories: hyper textual poems, poems composed for dynamic and kinetic manipulation and display, and programmable texts (20). She ends by focusing mainly on the last two types listed and by giving textual and visual examples of these types.

Morris’ text is accessible and informative. For those looking to learn more about new media poetics, she guides readers into the history of the field and gives them an outline of the different types available while also introducing them to some of the key players who work within the arena. Her separation of new media poetics from e-lit is clear and straightforward. However, I am unconvinced that this type of poetry, whose inner workings will be familiar to students, will be beneficial to them or to our cause as instructors.
 * __ Commentary __**


 * __ For Discussion __**


 * 1) Will students who are resistant to the sonnets of Shakespeare and the odes of Keats be more receptive to this type of poetry?
 * 2) Since new media poetics are set up with a system of codes that cannot be altered, which Morris mentions in the article, are these poems really interactive and changeable as she argues?
 * 3) Morris says, “One of the first things to note about new media poems is the frequency with which they feature not the stanza, the line, the phrase, or resonant word but tumbling, morphing, graphical and semiotic letters” (20). As instructors, how will this help us to teach poetry? Will this hinder our students’ ability to learn and improve their literacy skills?

MSA- Nelson, Jason. "This is How You Will Die." Rpt. in The Electronic Literature Collection, Vol. 2. 2005.

http://www.youtube.com/watch?v=7WlCMOLTNZE

http://collection.eliterature.org/2/works/nelson_thisishowyouwilldie.html


 * __ Overview __**

"This is how you will die invokes the many plot points that individuals influenced by movies and novels insert into their lives to give it shape, but applies them to an over-the-top satirical whimsy." The protagonist or reader is subjected to many frightening fortunes/misfortunes. Nelson paints an absurdist future death for each player of his "game" of death.


 * __ Textual Features __**
 * Generative- meaning the reader starts the process that results in the output, as opposed to watching a pre-prepared video or selecting pre-written texts to read.
 * Combinatorial-possible outputs play a key role in the composition.
 * "The writing divides the scenarios into location, method, result, and post result."


 * __ Media Features __**
 * Game display -slot machine
 * Flash
 * Psychotic humming music which invokes fear
 * Digital poem
 * 15 five line death fictions
 * Artwork varies for every spin
 * Videos of death
 * Poetry visuals
 * Sound poem
 * Grainy videos reminding the viewer of The Blair Witch Project

The humming music plays continuously in the background as the reader plays the slots. This provides an ominous tone to the game. Each spin allows the reader to experience an elaborate and (sometimes ironic) death, which becomes fascinating to read. However, the most disturbing part of the game or poem is the video associated with each number the reader is allowed to click on. The reader cannot stop the video from playing once it is clicked; it simply continues on repeat until he/she spins again for another scenario. The male speaker for each video is perturbing and unnerving, providing the most disturbing section of the "game." When the player of the game runs out of death credits, he/she has been given his/her death. What appears on the screen at that time is the death the reader is to expect. The reader of the poem finds himself/herself drawn into finding out the new and elaborate death scenes which Nelson has laid out for them, making the game a success.
 * __ Reading Experience __**

The game itself is a success in that it draws in the player to the text. One longs to find out which scenarios lay ahead, just like in a real slot machine game where one is gambling for money. In the game, the explain death button which can be pushed is extremely morbid but also true in its revolution that life or living is a true gamble which we take everyday that we are alive. The most absurd section of the poem/game is/are the demise credits. One must win at least ten of them to continue forecasting his/her own death. If one does not earn them, the poem or game must be exited and re-started, which is extremely frustrating. Sound poem elements are prominent here as the psychotic humming both revolts and draws the reader in for a new spin each time. The entire experience is very much like playing a slot machine at the casino as one must continue spinning to find out what happens next. The textual death outcomes are the most interesting part of this piece by Nelson. One sometimes laughs at the absurdity of each predicted outcome. Nelson refers to his piece as a poem but it plays much more like a game where the reader has no control over the outcome.
 * __ Analysis __**