Planning for Hypertexts in the Writing Center... Or Not
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ENG 1131: Writing Through Media—Ergodic Literature
Milligan i ENG 1131: Writing Through Media—Ergodic Literature Section 1983 Instructor:Caleb Milligan MWF, 6; W, E1-E3 Email:[email protected] ARCH 116 Office Hours:TUR 4367; MWF, 4 (and by appointment) Course Description Ergodic literature, according to media theorist Espen J. Aarseth, are those works for which “nontrivial effort is required to allow the reader to traverse the text,” demanding responsibilities beyond just “eye movement and the periodic or arbitrary turning of pages.” In this course, we will investigate important historical and more recent examples of ergodic texts, paying particular attention to the ways they require us to engage with and interact with the work. Our assigned texts should demonstrate that ergodic literature is not medium specific, as we investigate print literature, film, hypertext fiction, and games that all merit consideration as “cybertexts.” As we read and play these works, we will “write through media” by composing our own exercises of ergodic writing and reading through assignments that test limits of print and digital media. Course screening times will be dedicated to collaborative reading/viewing works that test ergodic and interactive possibilities, and to workshopping with print craft and required software for composition. We will regularly “read together” to emphasize the diversity of experiences ergodic texts may solicit, and to compare the differing resolutions each of you may reach to the shared resolutions we arrive at as a group. You should thus gain appreciation for the analysis and composition -
Layering Literacies: Computers and Peer Response in the 21St Century Christopher Warren Dean University of New Hampshire, Durham
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 2001 Layering literacies: Computers and peer response in the 21st century Christopher Warren Dean University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Dean, Christopher Warren, "Layering literacies: Computers and peer response in the 21st century" (2001). Doctoral Dissertations. 36. https://scholars.unh.edu/dissertation/36 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quaiity of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Digital Humanities Pedagogy: Practices, Principles and Politics
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/161 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Digital Humanities Pedagogy: Practices, Principles and Politics Edited by Brett D. Hirsch http://www.openbookpublishers.com © 2012 Brett D. Hirsch et al. (contributors retain copyright of their work). Some rights are reserved. The articles of this book are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported Licence. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated. Details of allowances and restrictions are available at: http://creativecommons.org/licenses/by-nc-nd/3.0/ As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/product/161 ISBN Hardback: 978-1-909254-26-8 ISBN Paperback: 978-1-909254-25-1 ISBN Digital (pdf): 978-1-909254-27-5 ISBN Digital ebook (epub): 978-1-909254-28-2 ISBN Digital ebook (mobi): 978-1-909254-29-9 Typesetting by www.bookgenie.in Cover image: © Daniel Rohr, ‘Brain and Microchip’, product designs first exhibited as prototypes in January 2009. Image used with kind permission of the designer. For more information about Daniel and his work, see http://www.danielrohr.com/ All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. -
Proposed Table of Contents
Rhetoric and the Digital Humanities Eds. Jim Ridolfo and William Hart-Davidson Tel Aviv University. 5, June 2012 Proposed Table of Contents Part 1: Defining Field Connections 1. Rehberger, Dean. “Rhetoric of Digital Humanities.” 2. Reid, Alex. “Speculative Rhetoric and the Digital Parliament.” 3. Sano-Franchini, Jennifer. “Cultural Rhetorics and the Digital Humanities.” 4. Brown Jr, James J. “Crossing State Lines: Rhetoric and Software Studies.” 5. Eyman, Douglas, Kathie Gossett, and Cheryl Ball. “Digital Humanities Scholarship and Electronic Publication.” 6. Anderson, Daniel and Jentery Sayers. “The Metaphor and Materiality of Layers.” 7. Johnson, Nathan. “Infrastructure, Mathematics, and Databases: A Rhetorical Methodology in Digital Humanities Scholarship.” Part 2: Research and Methodology 8. Koteyko, Nelya. “Corpus-assisted analysis of digital discourses.” 9. Hart, Roderick. “Patterns of Rhetoric: Text Analysis in the Digital Humanities.” 10. Boyle, Casey. “Low-Fidelity in High-Definition: Speculating the Potentials for Rhetorical Editions.” 11. Hoffman, David and Don Waisanen. “Textual analysis at the digital frontier: An overview of tools and methods for systematic rhetorical studies.” 12. McNely, Brian and Christa Teston. “Tactical and Strategic: Qualitative Methodologies in the Digital Humanities.” 13. Kennedy, Krista and Seth David Long. “The Trees Within the Forest: Extracting, Coding and Visualizing Subjective Digital Data in Authorship Studies.” Part 3: Interdisciplinary Trajectories 14. Rice, Jenny and Jeff Rice. “Pop-Up Archives.” 15. Micciche, Laura and Jennifer Glaser. “Digitizing English.” 16. Potts, Liza. “Archive Experiences: A Vision for User-Centered Design in the Digital Humanities.” 17. Walls, Douglas. “Forging Digital Trade Routes.” 18. Graban, Tarez Samra, Alexis E. Ramsey-Tobienne, Whitney A. Myers. “In, Through, and About the Archive: What Digitization (Dis)Allows.” 19. -
Digital Humanities
Miriam Posner Digital Humanities Chapter 27 DIGITAL HUMANITIES Miriam Posner Digital humanities, a relative newcomer to the media scholar’s toolkit, is notoriously difficult to define. Indeed, a visitor to www.whatisdigitalhumanities.com can read a different definition with every refresh of the page. Digital humanities’ indeterminacy is partly a function of its relative youth, partly a result of institutional turf wars, and partly a symptom of real disagreement over how a digitally adept scholar should be equipped. Most digital humanities practitioners would agree that the digital humanist works at the intersection of technology and the humanities (which is to say, the loose collection of disciplines comprising literature, art history, the study of music, media studies, languages, and philosophy). But the exact nature of that work changes depending on whom one asks. This puts the commentator in the uncomfortable position of positing a definition that is also an argument. For the sake of coherence, I will hew here to the definition of digital humanities that I like best, which is, simply, the use of digital tools to explore humanities questions. This definition will not be entirely uncontroversial, particularly among media scholars, who know that the borders between criticism and practice are quite porous. Most pressingly, should we classify scholarship on new media as digital humanities? New media scholarship is vitally important. But a useful classification system needs to provide meaningful distinctions among its domains, and scholarship on new media already has a perfectly good designation, namely new media studies (as outlined in Chapter 24 in this volume). So in my view, the difference between digital humanities and scholarship about digital media is praxis: the digital humanities scholar employs and thinks deeply about digital tools as part of her argument and research methods. -
Cybertext: a Topology of Reading
Cybertext: A Topology of Reading Citation info: Lee, T.K. (2017) “Cybertext: A Topology of Reading”, Modern Chinese Literature and Culture 29(1): 172-203. Tong King Lee “Cybertext” was first used by Espen Aarseth as a critical term to denote dynamic forms of literature in his seminal book Cybertexts: Perspectives on Ergodic Literature. To Aarseth (1997) the cybertext “is not a ‘new,’ ‘revolutionary’ form of text” (18) exclusive to the digital or computing realm. Nor is it a radical departure from “old-fashioned textuality,” (18) that is, the codex book – often seen as having little to do with technology defined in a restricted sense. The notion of the cybertext was indeed proposed in response to the print-digital divide that continues to govern how we think about contemporary literary practice. In the popular imagination, the neologism “cyberliterature” evokes the idea of electronically-enabled literary works produced and received via computing platforms; printed literature, accordingly, is not normally considered as belonging to the “cyber” domain. Aarseth’s re-definition is therefore fundamental in unlocking the medial and generic constraints imposed on the prefix-signifier cyber. In the advent of Aarseth’s theory, the term cybertext does not refer to a particular text genre; instead, it describes “a broad textual media category,” (5) “a perspective on all forms of textuality.” (18; original emphasis) It challenges the traditional assumptions of literary criticism by encompassing a wide range of textual formations, some of which are not conventionally regarded as literature proper. The cybertext is therefore a heuristic category that cuts across media and genres “with no obvious unity of aesthetics, thematics, literary history, or even material technology.” (5) The defining characteristic of the cybertext rests not with its medium of representation – it can be instantiated in print, digital, or mixed-media formats – but within the dynamics of its design and reception. -
The Value of Scholarly Writing: a Temporal-Material Rhetorical Analysis of Delivery in Google Documents
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 5-9-2016 The Value of Scholarly Writing: A Temporal-Material Rhetorical Analysis of Delivery in Google Documents Valerie Robin Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Robin, Valerie, "The Value of Scholarly Writing: A Temporal-Material Rhetorical Analysis of Delivery in Google Documents." Dissertation, Georgia State University, 2016. https://scholarworks.gsu.edu/english_diss/162 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE VALUE OF SCHOLARLY WRITING: A TEMPORAL-MATERIAL RHETORICAL ANALYSIS OF DELIVERY IN GOOGLE DOCUMENT by VALERIE ROBIN Under the Direction of Mary Hocks, PhD ABSTRACT This project examines the impact that cloud-based writing has on scholars’ material work processes and the temporal value shift that occurs as we write in an ‘always-on’ environment. It analyzes how interactive writing software (IWS) like Google Documents serve to forefront functions of interactivity between writers, and by doing so, reshape and create Western values surrounding the academic writing process that are uniquely post-industrial. Using James Porter’s (2009) components of digital delivery as a lens, this project contextualizes the ways that the work of writing is performed online by looking at the features embedded in a Google Document. This examination confirms that the canon of delivery itself has undergone a shift. -
Four Valences of a Digital Humanities Informed Writing Analytics Gregory J
Research Note Transforming Text: Four Valences of a Digital Humanities Informed Writing Analytics Gregory J. Palermo, Northeastern University Structured Abstract • Aim: This research note narrates existing and continuing potential crossover between the digital humanities and writing studies. I identify synergies between the two fields’ methodologies and categorize current research in terms of four permutations, or “valences,” of the phrase “writing analytics.” These valences include analytics of writing, writing of analytics, writing as analytics, and analytics as writing. I bring recent work in the two fields together under these common labels, with the goal of building strategic alliances between them rather than to delimit or be comprehensive. I offer the valences as one heuristic for establishing connections and distinctions between two fields engaged in complementary work without firm or definitive discursive borders. Writing analytics might provide a disciplinary ground that incorporates and coheres work from these different domains. I further hope to locate the areas in which my current research in digital humanities, grounded in archival studies, might most shape writing analytics. • Problem Formation: Digital humanities and writing studies are two fields in which scholars are performing massive data analysis research projects, including those in which data are writing or metadata that accompanies writing. There is an emerging environment in the Modern Language Association friendly to crossover between the humanities and writing studies, especially in work that involves digital methods and media. Writing analytics Journal of Writing Analytics Vol. 1 | 2017 311 DOI: 10.37514/JWA-J.2017.1.1.11 Gregory J. Palermo accordingly hopes to find common disciplinary ground with digital humanities, with the goal of benefitting from and contributing to conversations about the ethical application of digital methods to its research questions. -
Beyond Codexspace: Potentialities of Literary Cybertext." Grammalepsy: Essays on Digital Language Art
Cayley, John. "Beyond Codexspace: Potentialities of Literary Cybertext." Grammalepsy: Essays on Digital Language Art. New York: Bloomsbury Academic, 2018. 15–32. Bloomsbury Collections. Web. 28 Sep. 2021. <http://dx.doi.org/10.5040/9781501335792.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 10:59 UTC. Copyright © John Cayley 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 Beyond Codexspace: Potentialities of Literary Cybertext The use and abuse of visible language—or writing in the broadest sense— began, in the 1990s, to undergo huge, unprecedented, still continuing growth.1 This growth takes place in what was once called cyberspace, in what many critics still consider an environment that is hostile to cultivated letters—hostile, at the very least, to the traditional and still pre-eminent delivery media which made language visible to civilized language animals. The still narrow bandwidth of networks in the 1990s and the limited capabilities of affordable interfaces meant that encoded text became the dominant medium of information exchange on computer-based networks. And to communicate over these networks, people still, predominantly, write and read. That is, they compose (literary) texts and publish them in cyberspace, where they are read, usually in silence, by friends, colleagues, and the general public.2 All this has stimulated the emergence of an exuberant mass of new forms and proto-genres of visible language: Listserv mailing lists, online conferences or “chat” zones, MOO spaces, and so on. -
The Emergence of Cyber Literature: a Challenge to Teach Literature from Text to Hypertext
Proceedings | “Netizens of the World #NOW: Elevating Critical Thinking through Language and Literature” | ISBN 978-602-50956-4-1 THE EMERGENCE OF CYBER LITERATURE: A CHALLENGE TO TEACH LITERATURE FROM TEXT TO HYPERTEXT Deri Sis Nanda [email protected] Susanto Susanto [email protected] Bandar Lampung University, Indonesia Abstract In a digital era, people live in a cyberspace that they become part of modern society. The information that they have acquired is from the World Wide Web (WWW). This WWW has become an important medium for people in the world to disseminate information. Because of the technology of Web, cyber literature emerges. This study talks about the emergence of cyber literature which changes the way of reading and teaching in various institutions. It becomes a challenge for people who teach literature because they should leave the printed text and move to the digital text as called hypertext. The existence of cyber literature also drives them change their style to analyze and criticize the work of literature. So, it becomes a challenge for them to teach literature from text to hypertext. Keywords: cyber literature, emergence, text, hypertext, cyberspace, challenge, development. Introduction The influence of technology changes all aspects of people’s lives in the world. They become modern society who always get information and do communication in a virtual space. The influence can be seen in work places, homes and teaching institutions. Most of them acquire the information from the World Wide Web (WWW). It is a space for the users to read, write, and access the information with devices connected with the internet. -
Chapter 1 1. Anthony J. Niez and Norman N. Holland, “Interactive
notes.qxd 11/15/1999 9:14 AM Page 173 Notes Chapter 1 1. Anthony J. Niez and Norman N. Holland, “Interactive Fiction,” Critical Inquiry 11 (1984): 111. 2. Articles on readers and hypertexts include Stuart Moulthrop and Nancy Kaplan, “Something to Imagine: Literature, Composition, and Inter- active Fiction,” Computers and Composition 9, no. 1 (1991): 7–24; Moulthrop and Kaplan, “They Became What They Beheld: The Futility of Resistance in the Space of Hypertext Writing,” in Literacy and Computers: The Complications of Teaching and Learning with Technology, ed. Susan Hilligoss and Cynthia L. Selfe (New York: Modern Language Association, 1991), 105–32; Michael Joyce, “Siren Shapes: Exploratory and Constructive Hypertexts,” Academic Computing 3, no. 4 (1988): 10–14, 37–42; J. Yel- lowlees Douglas, “Plucked from the Labyrinth: Intention, Interpretation, and Interactive Narratives,” in Knowledge in the Making: Challenging the Text in the Classroom, ed. Bill Corcoran, Mike Hayhoe, and Gordon M. Pradl (Portsmouth, N.H.: Boynton/Cook, 1994), 179–92; Douglas, “Gaps, Maps, and Perception: What Hypertext Readers (Don’t) Do,” Perforations 3 (spring–summer 1992): 1–13. 3. Jurgen Fauth, “Poles in Your Face: The Promises and Pitfalls of Hyper‹ction,” Mississippi Review 2, no. 6 (September 1995): <http://orca.st.usm.edu/mrw/backweb.html>. 4. Thomas Swiss, “Music and Noise: Marketing Hypertexts,” review of Eastgate Systems, Inc., Post Modern Culture 7, no. 1 (1996): <http:// jefferson.village.virginia.edu/pmc/text-only/issue.996/review-4.996>. 5. Espen J. Aarseth, Cybertext: Perspectives on Ergodic Literature (Bal- timore: Johns Hopkins University Press, 1997), 49. 6. -
CYBERTEXT NARRATOLOGY Markku Eskelinen Introduction
(INTRODUCTION TO) CYBERTEXT NARRATOLOGY Markku Eskelinen Introduction This paper combines Espen Aarseth´s typology and textonomy of cyber- texts with three advanced late 20th century models of narrativity: those of narratology as systematized by Gérard Genette, Seymour Chatman and Gerald Prince, the well-known constructions of postmodernism by Brian McHale, and finally the combinatorial and constrictive practices of the OuLiPo as described by Marcel Bénabou and Jacques Roubaud. In its own modestly exponential way my paper also introduces cybertext fiction, not much in existence yet. Consequently, we will focus on three main issues. At first, we’ll see how the basic and still somewhat heuristic concepts and categories of narratology have to change in order to be able to map out the possibilities and new constellations of cybertextual narration. Secondly, there is the digital dominant, that is, a new set of both epistemological and ontological problems caused or called forth by cybertext fiction and theory. And finally we’ll introduce oulipian objects and operations to temporally dynamic aspects of cybertext theory. It is important to clarify right from the start that cybertext fiction denies its users’ mastery in ways hypertext fiction does not. And in doing so it is much closer to that once hyped hypertext prophecy: print stays; electronic text replaces itself. Firstly, cybertext fiction reads its readers and reacts back by changing itself far more profoundly than by simply playing around with conditional links. In other words it operates as an average piece of 52 interactive art. It should be remembered that this so called interactivity, so far best explained and moderated by Aarseth’s user functions, has a much longer conceptual and practical history in many other forms of art.