Revisions required

A fictional narrative is an agitated space. A story world is constructed with attention to selection of detail and level of its description (setting and its establishment of tone, subtext and above all, physical place). The traditional role of the author has been to carefully use these tools to create the other world. The city is also an agitated space. A city is a collection of data and sub-text to be read in the context of ethnography, history, semiotics, architectural patterns and forms, physical form and rhythm, juxtaposition, city planning, land usage shifts and other ways of interpretation and analysis. The city patterns can be equated to the patterns within literature: repetition, sub-text shift, metaphor, cumulative resonances, emergence of layers, decay and growth.

Read more: http://www.neme.org/texts/narrative-archaeology

This essay compares two novel forms that are separated by more than 250 years: Henry Fielding's Joseph Andrews, published in 1742, and Philippa Burne's hypertext fiction "24 Hours with Someone You Know," copyrighted in 1996. Using narratological, pragmatic, and cognitive tools and theories, the confrontation of the two distant texts aims to highlight that while "the ethics of the telling" is congruent with the "ethics of the told" in both stories (), the texts differ in the pragmatic positioning of their audiences and the freedom that they seem to grant readers, thereby emphasizing the evolution of the author-reader relationship across centuries and media. The article shows to what extent digital fiction can be said to invite the active participation of the reader via the computer mouse/cursor. Meanwhile it exposes a paradox: although Joseph Andrews is a highly author-controlled narrative, guiding the reader's ethical interpretation of what is told, it seems to leave more "space" for the actual reader, while Burne's participatory framework, conveyed through a second-person pronoun that blurs the line between implied and actual audience, requires some "forced participation" () via the "virtual performatives" that hyperlinks represent. Finally, the specificity of "you" digital fiction as opposed to its print counterpart is theorized in two contrasted models of audience.

Rebooting Electronic Literature, Volume 2 is an open-source, multimedia book that documents seven pre-web works of electronic literature held in the Electronic Literature Lab's (ELL) library at WSUV. Written and produced by the 2019 ELL Team—Dene Grigar, Nicholas Schiller, Holly Slocum, Mariah Gwin, Kathleen Zoller, Moneca Roath, and Andrew Nevue—the book features Traversals of Kathyrn Cramer's "In Small & Large Pieces," Deena Larsen's Samplers, Richard Holeton's Figurski at Findhorn on Acid, Tim McLaughlin's Notes Toward Absolute Zero, and Stephanie Strickland's True North. Released December 2019.

Source: Dene Grige's website nouspace.net

Many essays about the hypertext poem, "True North," address Stephanie Strickland's use of color and maps, such as Deena Larsen and Richard Higgason's "An Anatomy of Anchors" and its instantiation into two distinct media forms, such as Joseph Tabbi's "Stephanie Strickland's True North: A Migration between Media." Strickland herself has written essays about the work, most notably "Quantum Poetics: Six Thoughts," where she reminds readers that her work "investigate[s] oscillation between image, text, sounds, and animation, both within and between hypertextually linked units" (32). This essay, therefore, takes a different tack from these excellent examples. It offers a discussion of the work's history of production, which is necessary for establishing valid information about versions and dates, and its mechanics because experiencing the hypertext poem will soon no longer be possible for readers. 

All too often, defining a discipline becomes more an exercise of exclusion than inclusion. Disrupting the Digital Humanities seeks to rethink how we map disciplinary terrain by directly confronting the gatekeeping impulse of many other so-called field-defining collections. What is most beautiful about the work of the Digital Humanities is exactly the fact that it can’t be tidily anthologized. In fact, the desire to neatly define the Digital Humanities (to filter the DH-y from the DH) is a way of excluding the radically diverse work that actually constitutes the field. This collection, then, works to push and prod at the edges of the Digital Humanities — to open the Digital Humanities rather than close it down. Ultimately, it’s exactly the fringes, the outliers, that make the Digital Humanities both heterogeneous and rigorous.

This collection does not constitute yet another reservoir for the new Digital Humanities canon. Rather, its aim is less about assembling content as it is about creating new conversations. Building a truly communal space for the digital humanities requires that we all approach that space with a commitment to: 1) creating open and non-hierarchical dialogues; 2) championing non-traditional work that might not otherwise be recognized through conventional scholarly channels; 3) amplifying marginalized voices; 4) advocating for students and learners; and 5) sharing generously and openly to support the work of our peers.

(source: back cover of the book)

This innovative reader addresses the social, cultural, political, and educational implications of today’s burgeoning information and communication technologies in substantial critical depth. Using three broad human themes—Constructing Identity, Building Community, and Seeking Knowledge—this brief freshman reader engages students in exciting rhetorical issues, including "Gender Online," "The Global Village," and "Information Overload and New Media." In each case, hopeful and optimistic views are balanced with incisive technology criticism, helping to make cutting-edge social issues intellectually coherent and accessible to your students.

Source: www.amazon.de

Postdigital Storytelling offers a groundbreaking re-evaluation of one of the most dynamic and innovative areas of creativity today: digital storytelling. Central to this reassessment is the emergence of metamodernism as our dominant cultural condition.

This volume argues that metamodernism has brought with it a new kind of creative modality in which the divide between the digital and non-digital is no longer binary and oppositional. Jordan explores the emerging poetics of this inherently transmedial and hybridic postdigital condition through a detailed analysis of hypertextual, locative mobile and collaborative storytelling. With a focus on twenty-first century storytelling, including print-based and nondigital art forms, the book ultimately widens our understanding of the modes and forms of metamodernist creativity.

Postdigital Storytelling is of value to anyone engaged in creative writing within the arts and humanities. This includes scholars, students and practitioners of both physical and digital texts as well as those engaged in interdisciplinary practice-based research in which storytelling remains a primary approach.

(Source: Routledge catalog copy)