For me, it was the repetitions of the few words of which this poem consists, that stood out to me and I wanted to do something with that. Because the poem I chose consists of merely 13 words, chosen from a pre-existing text, I chose to give the user the possibility to generate these words in a random order, resulting in a new, each time unique poem.
(Source: Translation of the description in Literatuur Op Het Scherm)
Voor mij waren het in dit gedicht de herhaling van de weinige, steeds weer dezelfde woorden waaruit het gedicht bestaat, die mij opvielen, en waar ik iets mee wilde doen. Omdat het gedicht waar ik voor gekozen heb uit slechts 13 woorden bestaat, gekozen uit een bestaande tekst, heb ik ervoor gekozen de gebruiker de mogelijkheid te geven deze woorden in een willekeurige volgorde te genereren, zodat er op deze manier een nieuw, steeds weer uniek gedicht ontstaat.
(Source: Description in Literatuur Op Het Scherm)
TXTual Healing was created in the early days of 2006 by Paul Notzold and has become an ongoing exploration in how mobile technology can transform public action into theater. Using a laptop and projector, speech balloons and/or graphic context are projected onto buildings, with a phone number to which anyone with a mobile phone can text a response. Typically a private form of communication, in this project text messaging becomes an open, anonymous, and uncensored dialogue; a means to engage, rather than to escape. A way to create community through spontaneous performance.
TXTual Healing contextualizes text messaging into user generated story telling, whether in public space or as an indoor installation. Projects include displaying text messages in speech bubbles pairing them with graphic content, writing messages out in the hand of graffiti artists, interactive movies where the audience text’s the dialog and triggers the movie to play forward, mixed media pieces using permanent graphics with projected messages, and live performance pieces such as freestyle rapping your text messages.
(Source: http://www.txtualhealing.com/ About Page)
The development of the cultural field of electronic literature faces significant challenges today. As everyday network communication practices and habits of media consumption change, they impose expectations on how narratives are expressed, experienced and interacted with by readers and users. These expectations produce an imperative to accommodate additive and emergent participation processes that influence how narratives are structured. It is increasingly important to strike a balance between authorial agency and user generated content, between the core creative vision of a cultural creator and the contributions of casual participants, between narrative coherence and improvisational interactions. Resolving these antinomies is crucial in order for the field of electronic literature to support both the development of popular digital fiction and a continuing tradition of experimental literature.
In this paper I develop a comparative, multi-layered analysis of network narratives – prose narrative works imagined within and created for a media ecology characterized by networked computing devices, socially mediated interactions, and participatory culture. Using narrative theory and network analysis I explore how the iOS application The Silent History and selected network narratives incorporate additive participatory feedback loops and processes that enable user generated content to be embedded within the narrative that subsequent users engage with. Conditions for the inclusion of user-generated content vary among network narratives, and are typically constrained programmatically or editorially with respect to type, quantity, or subsequent accessibility. The participatory and emergent characteristics of network narratives shape and are shaped by various aspects of the narrative, including the expression of story as discourse, the navigational interface, production circuits, distribution and publishing models and whether and how multimedia elements play a role in the work. These elements of network narratives can be understood as topological strata, and by investigating the homologies and interdependencies between them, this study clarifies how additive participation can be incorporated into a compelling narrative without undermining coherence.
(source: ELO 2015 Conference Catalog)