remix

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Erasure is a powerful technique that allows contemporary creative writers, visual artists, and political activists to reveal underlying patterns within extant narratives. Perhaps because of its imbrication with book arts and other tactile forms, erasure poetry is relatively unexplored in the domain of e-literature. However, educational platforms like Wave Books’ interactive erasure poetry website, as well as recent artistic projects such as Amaranth Borsuk, Jesper Juul, and Nick Montfort’s web browser extension The Deletionist, Jacob Harris’s Times Haiku, and my own participatory platform The Infinite Woman demonstrate some of the possibilities for making and reading erasure poetry in a digital context. In this one-hour hands-on workshop, I’ll briefly introduce the form and technique of erasure in contemporary creative writing, looking at some physical examples (like Lauren Russell’s chalk erasure of Descent) in addition to the digital examples mentioned above.

We’ll discuss the aesthetic and political choices in handcrafted and computationally generated erasure poems; consider erasure’s overlap with and distinction from other approaches like remix, appropriation, and conceptualism; and explore how erasure allows writers and artists to stretch and innovate poetic technique. Then, I’ll introduce a series of hands-on exercises designed to get participants quickly making their own physical and digital erasures. Participants will experiment with user-friendly tools to make their own erasure poems on a variety of platforms. Participants will need to have access to a web browser (Chrome or Firefox) and a word processor, as well as a design program. I’ll be using the free, user-friendly, online platform Canva in lieu of an Adobe product; if participants do not already have a design program, they should sign up for a free Canva account before the workshop (https://www.canva.com/). They will also need paper, scissors, pens or markers, found physical text (like a newspaper or electrical bill), and found digital text (like a speech, blog post, or literary passage).

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By Milosz Waskiewicz, 25 May, 2021
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Abstract (in English)

As an adjunct instructor during the pandemic, I am in a rather unique position to speak to the use of the Learning Management System (LMS) as a pedagogical platform (I currently teach at three different post-secondary institutions and use three different LMSs). This pandemic has clearly laid bare several of the difficulties of precarious labour in the academy, and the need to fluently navigate several disparate platforms is just one. But, I would like to use this unique position to begin to speak to the role of pedagogies of digital literature to help students develop critical digital literacies, and how the proprietary LMS might influence or impede that process.This paper’s primary focus is a scholarly analysis and critique of the use of the LMS Blackboard for course delivery of ENGL4309 Digital Adventures in English, a fourth-year seminar that is marketed primarily as a course in DH tools for the study of literature and the digital literary. One of those DH tools I am using in a module on digital literatures is Nick Montfort’s “Taroko Gorge” and the many remixes thereof. By situating the e-lit classic in this way, my goal is to treat the code and the popularity of its remixes as a DH tool, and to thus follow in the excellent arguments made throughout 2020 about electronic literature as digital poetics (see, of course Dene Grigar and James O’Sullivan’s Electronic Literature as Digital Poetics, or Alex Saum-Pascal and Scott Rettberg’s “Electronic Literature [Frame]works for the Creative Digital Humanities” for the Electronic Book Review).

As a part of this module, I ask my students to remix “Taroko Gorge,” as we did when I first encountered the work through the Digital Humanities Summer Institute (DHSI) several years before. However, extending that same project to upper-year students who were, until that point unfamiliar with the field, and most of whom had never interacted with code before at all, proved to be difficult. And one of the difficulties of this assignment, indicating barriers to access for student and instructor alike, was attempting this project using the proprietary software of the LMS.

Of course, one of the assignment’s learning objectives is building the critical digital literacy of recognizing that all digital texts are two texts: a code, and its reconstitution. Following Serge Bouchardon’s arguments in his “Mind the Gap! 10 Gaps for Digital Literature,” this assignment is designed to at least in part reveal the basic mechanisms of how code shapes the digital text to readers who do not know how to program (like me!), and to thus begin to close “the gap separating us from digital literacy” that Bouchardon observes. But, the incongruity of the LMS and the remixing project reveal a potential limitation that we need to be cognizant of as instructors of the digital literary and beyond.

Description (in English)

During the winter of 2017, a tree died in my front yard. Afterwards, a gale uprooted it and smashed it into lumber. But before the fire, new trees emerged. Árboles de mi Desierto: Wind Songs is a recombinatory video poem shaped by my dead tree as it was documented misusing a panoramic camera in order to generate impossible landscapes of bark, wood, assorted detritus and desert sand. The words, sometimes fleeting and otherwise stark, work together with the images to create something akin to a palimpsest of reflections on the human penchant for unnatural progress, growth, vertical lifestyles and upward mobility. It uses espanglish as the lingua franca of the MX-US border where I reside in San Agustin, a small, very much under developed rural town outside of Ciudad Juárez.

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A distored panorama shot of a fallen tree
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A distored panorama shot of a fallen tree
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A distored panorama shot of a fallen tree
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Description (in English)

“Still I Rise: Remix” is a visual, lyrical, digital interactive fight song for civic action for the #BlackLivesMatter social justice and social change movement. Created during and by the stressors intensified from the global pandemic, this JavaScript interactive poetry remix embraces the digital activism made exponential during the pandemic through the platformization of counternarratives. The remix blends multiple digital mediums with cultural artifacts of the past and present to weave together a rhetorical and semiotic interactive experience that enlightens society and uplifts the human spirit. Through multimodality and intertextuality, “Still I Rise: Remix” exploits the aesthetics of the digital interactive experience through multiple artistic forms of expression, including code, video, audio, and hypertext. This COVID E-Lit interactive exhibition is a multimodal expression and declarative statement for the #BlackLivesMatter movement which embodies the spirit of change, inclusion, and social justice. “The medium is the message.” Experience “Still I Rise: Remix.”

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The main page of "Still I Rise"
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Hovering over text in "Still I Rise" highlights it in red
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Still I Rise emoji page
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Still I Rise emoji page reveals text when hovering on an emoji
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Description (in English)

by rt to pt, with advertising soundbites speeches + - slogans advertisements jingles. constellation ?! Combinatory

Description (in original language)

por rt para pt, com propaganda soundbites discursos +- slogans advertisements jingles. constelação ?! Combinatória

Description in original language
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Contributors note

Rui Torres: txt, xml, html, snd; Nuno Ferreira: js, html

Description (in English)

Most Powerful Words is a digital literary work comprised of 54 computer-generated poems. There are six themes containing nine poems. Click a theme, then a panel of the theme’s carousel to generate a unique, infinite, recombinant poem. Click ‘Return to [SECTION]’ to return to the carousel menu. Click ‘Return to Main’ to return to this page. Using Montfort’s algorithmically minimal Javascript (for copyright, inspect source), this collection presents all language on the same playing field, allowing contemporary readers to lightly, quickly, precisely, visibly, and consistently traverse the infinite use and misuse of past and present language. Chrome browser recommended. Cultural Sensitivity Warning: This work includes images of and references to people who have died. PM DMs uses the vocabulary of speeches delivered by the first nine Australian Prime Ministers. Most Powerful Words uses the vocabulary of speeches delivered by the nine most powerful people in the world today, according to Forbes magazine. Money Speaks uses the vocabulary from letters, notes, diary entries, poems, speeches and books written by the nine individuals that appear on Australian currency. Indigenous Silence uses the vocabulary from historical policies, speeches, rulings, log-books, and Wikipedia entries that are about/have impacted Indigenous Australians. No words written by Indigenous Australians are used in this section. Concessions uses the vocabulary of concession speeches or regretful musings of the past nine Queensland Premiers. Finally, New Beginnings uses the vocabulary of the first pages of nine notable Queensland novels and works of non-fiction.

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Description (in English)

A Twitterbot remix of "This is a Picture of Wind: A Weather Poem for Phones” by J. R. Carpenter.

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The sky clears its schedule. Gentle breezes. Lavender in need of attention. The river brings along a novel. #thisisapictureofwind

Late summer thunder. Heat rising out of nowhere. Elegiac, but we’ll take it. #thisisapictureofwind

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This is a Picture of Wind Twitterbot
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978-1-93-399670-7
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Description (in English)

ased on two iconic American novels, A Noise Such as a Man Might Make is a computer conflation using a well-known algorithm that has been applied to language since the middle of the twentieth century. The two source texts share many stylistic and thematic features, both narrating the ritualistic, circular struggle of a man and a boy against hostile environments. The other characters consist of the cold, hunger, physical pain, emotional pain, rain, snow, roads, and the sea. More musical than anecdotal, this novel aims to portray a certain model of masculinity held by Western society for centuries and finding a special place in warlike circumstances. A Noise Such as a Man Might Make is the history of a dying model of manhood, the now troubled paradigm of men as warriors and survivors. The book includes an Afterword by Nick Montfort.

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Book cover for A Noise Such as a Man Might Make (Counterpath)
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Description (in English)

"Hologram Will" is an interactive science fiction game. Businessman and millionaire David Mann has passed away, but before his death he recorded a hologram that acts as his will and testament. The hologram has been given to one of his heirs who has become the will's executor. The player can choose between three different heirs who each has their own unique message recorded for them. The inheritance consists of several rare and valuable items collected by Mann, in addition to company shares. As the executor, the player can also increase their inheritance by claiming the other heir's shares. However, legal and other fees will be incurred during this process and can exceed the net benefits of the will, making this a costly affair. (Source: Author's description)

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First page of the game
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Page showing the character selection
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Page showing the character's inheritance
Technical notes

The game is a remix and based on the code from Living Will by Mark C. Marino.

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Description (in English)

The gladiator Spiculus enters the arena one last time in this text-based simulator. Armed with a sword and shield, he fights gladiator after gladiator until he is killed. The character Spiculus is inspired by one of the most famous gladiators of the 1st century AD Rome. Spiculus won many great battles and was well-known by audiences. He was particularly admired by the emperor Nero who rewarded him with palaces and riches for his heroics.(Source: Author's description)

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First page of the simulator
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One of the simulator's endings
Technical notes

The simulator is a remix and based on the code from the Boromir Death Simulator. It uses Dungeons & Dragons 3rd Edition rules.