internet radio

Description (in English)

radioELO archives and curates aural information associated with works of electronic literature. This might include author traversals of their work(s) during which they discuss their inspirations and problem solving, or the state of electronic literature at the time of their creation(s). Reevaluations and retrospectives, commentary and reviews, even testimonials, memoirs, and oral histories may also be included. Beyond spoken voice, radioELO also archives soundtracks, soundscapes, and sound collages associated with or considered as individual works of electronic literature. With such information available for on demand, online listening, radioELO is a laboratory in which to examine and discuss the changing nature(s) of electronic literature. Works featured in radioELO are: eLiterature A-Z (Roderick Coover), Soundscapes and Computational Audio-Visual Works (Jim Bizzochi and Justine Bizzochi), Song for the Working Fly (Alan Bigelow), No Booze Tonight (Steven Wingate), ARCHIVERSE In Relation ELO 2014 (Jeff T. Johnson and Andrew Klobucar), The Obsolete Book in a Post-Obsolete World as Represented by a Post-Obsolete Book About Dance (Eric Suzanne), “Where’s Waldo?::Where’s the Text?” (John Barber), Sc4nda1 in New Media (Stuart Moulthrop), Radio Salience (Stuart Moulthrop), Under Language (Stuart Moulthrop), Circuits—from River Island (John Cayley), Califia (M. D. Coverley), The Unknown (William Gillespie, Scott Rettberg, Frank Marquardt, and Dirk Stratton), The Roar of Destiny (Judy Malloy), Uncle Buddy’s Phantom Funhouse (John McDaid), Pieces for Simultaneous Voices (Jim Rosenberg). All sound fragments are available at the source listed below.

(Source: http://radionouspace.net/radioelo.html)

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source: http://radionouspace.net/radioelo.html
By Scott Rettberg, 4 October, 2013
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CC Attribution Non-Commercial
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Abstract (in English)

This essay suggests sound(s), especially when designed/utilized to provide immersive contexts, can provide a valid literary experience and may be considered, like reading and writing, a central element in the digital narratives of electronic literature. Specifically, 1) Sound (vocal and other) provides the basis for narrative, the heart of every literary experience; 2) Rather than sound(s) in electronic literature, sound(s) might be heard as electronic literature; sound(s) might form the basis for new works of electronic literature; 3) Evolving considerations of Internet radio, especially with regard to mobile, interactive, social audio networks, with content drawn from radio drama and radio art, may provide models for these new forms of electronic literature that are deep, rich, engaging, and immersive literary experiences that locate the text not (solely?) in the acts of reading and writing, but also in the act of listening.

(Source: Author's abstract for ELO 2013: http://conference.eliterature.org/critical-writing/internet-radio-and-e… )