Seminar # 6. Electronic collective writing

Using your Mind Map software make the mind map of  the netprov conception.What is the concept of the performance part of the Being @SpencerPratt by Mark Marino and Rob Wittig? What are the elements of archived part of the Being @SpencerPratt by Mark Marino and Rob Wittig?

Seminar # 5. Kinetic fiction

 Using your Mind Map software make the mind map of the kinetic poem conception.What is the operative principle of kinetic poems? Explain it using the Faith example. What are the main types of kinetic poems?

Seminar # 4. Hypertext and hypermedia fiction

 Using your Mind Map software  make the mind map of the hypertext conception.

What are the main parts of the Penetration by Robert Kendall?  Who are the main characters of this poem? How many parts does the poem have? What does the image of green grass symbolize? How many colors are used in the poem? What do they symbolize? What are the main principles of reading hypertext? Explain using the Penetration example.

Seminar # 3. Electronic generative fiction

 Using your Mind Map software make the mind map of  the Frequency conception.

What are the main constraints that are used by Scott Rettberg in his generator the Frequency?  What types of syllabic forms and rhyme schemes does he use to generate his poems? Explain each of them by listing its structural features using the examples from the Frequency. What are the main principles of the Frequency generator?  Read the Frequency Project Introduction and explain the main idea of the project.

Seminar # 2. Digital environment properties &Electronic literary text features

Using the qrmania service make an audio qrcode with your short description of one elit preservation strategy.

What are the main digital environment properties?  What types of dysfunctionality in digital art do you know? Explain each of them by listing its specific features.

Seminar # 1. Defining electronic literary text, structural issues

 There are a lot of definitions of electronic literature. Let’s try to invent your own one. 

What, according to all theory patterns represented in this lesson, is the electronic literature?

What are the main components of the electronic literary text? What are the main types of electronic literary text?

 

Seminar # 6 Electronic collective writing

 

Look through the Being @SpencerPratt by Mark Marino and Rob Wittig; identify the main structural elements of it.

Being Spencer Pratt is a networked improvised tale, or #netprov. All in all, it was a four-week joint project including Spencer Pratt, Heidi Montag, Mark C. Marino, and Rob Wittig. The latter two used Pratt's Twitter account to write under the pretense of a purportedly lost British poet who had located Pratt's phone. In addition, Spencer Pratt's over a million Twitter followers were participating, as the "poet" extended invitations to engage in poetry-related activities and general conversation.

The main page of the website includes the story behind the work, biography of authors, the main description of the project, its archive possible to be downloaded, and the main pages of the project. Reality: Being @spencerpratt started when reality TV star Spencer Pratt, who had around a million followers on Twitter, consented to let Mark Marino and Rob Wittig handle his account. Through his tweets, they recounted the tale of a struggling poet who finds the star's lost—or maybe stolen—cell phone and uses it as a platform to promote poetry. Pratt's fan following was abruptly enmeshed in a world of Oulipian games and early modern English poetry, not knowing if this was real or made up.

The poet, known by some of his fans as "Tempspence" (temporary Spencer), engaged in poetry games with Spencer's supporters, according to the official website. the archive of tweets from the whole history, along with an explanation of the games that users and followers have played within tweets. The one thing all of these shows had in common, apart from the rationale behind the project's rise—the comparison to reality TV shows—was that they were meticulously planned and strategically executed, deftly edited, and, in certain situations, even written by their creators. When compared to conventional written plays, the spontaneous, documentary feel that gave the impression of authenticity was a fiction.

Summarizing:

What is the organizational structure of netprov?

Threshold definition: A work must be at least somewhat improvised, begin in real time, and parody popular media in order to qualify as netprov.

The "inner circle" of writers and actors that make up Netprov's organizational structure include "outer circle" those who were invited and "in on the joke from the beginning" players, readers, or participants who are not part of the inner circle. The inner ring functions as a show (play, improv theater, cabaret, or television series in installments); the outer circle functions similar to a game in which everybody may play.

Does the netprov genre use multiple media?

Netprov employs a transmedia storytelling strategy that combines the usage of several vernacular media at once. (Vernacular media are widely available, commonly used communication tools that don't require specialized expertise.) The output of Netprov can be collaborative and take reader participation into account. It might be when it's released, read as a live performance; alternatively, read at a later time as a fixed store. Breaking news items may be included in projects during the performance. Netprov Models or actors may be used in projects to physically portray characters in pictures and films, and live demonstration. Some authors and performers choose to play the characters they write. For Netprov initiatives, readers may need to go to specific places in order to find information, carry out actions, and document their endeavors. While the show was going on, Netprov is meant to be read throughout the day in short bursts.

If so, in what way?

Whether or whether the medium is regarded as "literary," netprov projects are created in the prevalent everyday computational writing and reading media of the moment. Netprov projects can be constructed in a "transmedia" manner across numerous, simultaneous, non-duplicating media. For instance, the same character might have distinct, yet cohesive, texts evolving throughout their Facebook page, Twitter account, and web page.

This implies that a wide range of real-world online behaviors, as well as those in social media and personal media (such as texting, emailing, and phone calls), are also utilized as formal sources and models for netprov. These include: mainstream media, corporate and governmental communications of all types; informal personal blogs, websites, podcasts, and videocasts; text messages and Twitter tweets; and informal personal blogs, websites, and podcasts; cooperative gathering locations; as well as cooperative creative websites.

Extending:

What is the concept of the performance part of the Being @SpencerPratt by Mark Marino and Rob Wittig? 

The concept of this Twitter fiction netprov is rather straightforward: while filming Celebrity Big Brother in London, reality star Spencer Pratt misplaced his smartphone. Later, a struggling poet discovered it and started using it creatively to promote poetry. With this piece, the writers expand their creative investigation of social media identities by "occupying" a celebrity account (permission granted) and use it as a platform for a performance that initially draws a sizable crowd.

The main tale is with audience trust dynamics when they are unintentionally lured into what is actually an activist activity, in addition to the entertaining poetry games and captivating narrative arc. It is important to note that @SpencerPratt got an increasing number of nasty comments throughout the performance (based on several tweets referencing this), especially when the “truth” about the “person” posting on the Twitter account became apparent. This is an important part of the performance since the followers' faith in the account—which was validated, no less—had been misplaced. The fact that Marino and Wittig were able to win back the audience's trust by "coming clean" is a credit to their artistic skill.

This is known as "netprov," a newly-emerging genre of performance art in which several individuals engage to construct a shared story mostly on social media networks. Netprov, sometimes referred to as Internet improv, is a real-time, collaborative, networked storytelling form.

The purpose of this project was to raise issues around identification and authenticity on social media platforms, as well as how credulous people may be when they don't know the real story behind the person appearing on TV, whether or not they is a star.

What are the elements of archived part of the Being @SpencerPratt by Mark Marino and Rob Wittig?

The original website of this netprov allows its readers not only see the story in an online format, but also download the archive with the main parts of the work, there are structured and named tweets collected together, the pdf-version with all of the tweets together, and the links to the main domains with the work’s structural parts. This archive allows the reader to experience the artwork in various forms, and feel the authenticity by the presentation of the structural elements and design as well. 

by Belova S. POm-21

"Being @SpencerPratt" by Mark Marino and Rob Wittig is a work of electronic literature that combines narrative, social media, and interactive elements. The main structural elements of the work can be identified as follows:

1. Social Media Format. The work takes the form of a Twitter feed, emulating the structure and functionality of a social media platform. The narrative unfolds through a series of tweets, with each "tweet" representing a fragment of the story.

2. Multimedia Integration. The tweets in "Being @SpencerPratt" often include multimedia elements such as images, videos, or hyperlinks. These multimedia elements enrich the narrative experience by providing additional context, visual representation, or external references to other online content.

3. Interactive Storytelling. The reader is invited to actively engage with the work by interacting with the tweets. The interactive elements can include options for the reader to make choices or influence the direction of the narrative. These interactions allow for multiple paths and outcomes, creating a non-linear reading experience.

4. Serial Storytelling. The narrative unfolds over time as new tweets are periodically added to the feed, creating a sense of ongoing story development. This serialization mirrors the real-time nature of social media platforms and encourages readers to keep up with the updates to follow the narrative progression.

5. Fragmented Narrative. The tweets are presented in a fragmented style, often with disjointed or incomplete sentences, reflecting the brevity and character limit inherent to Twitter. This fragmented narrative style challenges traditional linear storytelling and encourages readers to construct meaning from the scattered pieces of information.

6. Metafictional Elements. "Being @SpencerPratt" incorporates metafictional elements, blurring the boundaries between reality and fiction. The work plays with the persona of Spencer Pratt, a real-life figure, and blurs that persona with fictional elements, creating an intriguing mix of authenticity and fabrication.

These structural elements combine to create a unique reading experience that engages readers through interactive, social media-inspired storytelling. By integrating multimedia, allowing reader interaction, and embracing the format of Twitter, "Being @SpencerPratt" pushes the boundaries of traditional narrative and explores the possibilities of electronic literature.

Summarizing

What is the organizational structure of netprov? Does the netprov genre use multiple media? If so, in what way?

Netprov often blurs the boundaries between reality and fiction, engaging participants in a collective narrative creation. While the specific organizational structure of netprov can vary depending on the project, there are some common elements and characteristics.

1. Collaborative Storytelling. Netprov typically involves a collective storytelling process where multiple participants contribute to the ongoing narrative. Participants can collaborate through various digital mediums such as social media, email, or online forums, working together to shape the outcome of the story.

2. Real-Time Interaction. Netprov often unfolds in real-time, allowing participants to directly engage and respond to each other's contributions. This dynamic interaction adds an element of spontaneity and improvisation, with the story evolving through the interplay of participants' actions and responses.

3. Distributed Authorship. In netprov, authorship is distributed among the participants, blurring the lines between creators and consumers of the narrative. Each participant becomes an active participant in the co-creation of the story, contributing to plot development, character interactions, and even world-building.

4. Use of Multiple Media. Yes, the netprov genre frequently uses multiple media to enhance the storytelling experience. Netprov projects can incorporate various forms of media, including but not limited to text, images, audio, video, and even live performances. The combination of different media elements enriches the narrative and provides participants with diverse ways to engage with the story.

5. Blurring of Reality and Fiction. Netprov often blurs the boundaries between reality and fiction, challenging traditional notions of storytelling. Characters and events in netprov may intersect with real-life contexts, incorporating recognizable places, people, and contemporary events. This blurring enhances the immersive nature of the narrative, creating a sense of alternate realities or hyper-realities.

Overall, the organizational structure of netprov is characterized by collaborative storytelling, real-time interaction, distributed authorship, and the use of multiple media forms. Through these elements, netprov fosters collective creativity and encourages participants to actively engage and shape the narrative in a dynamic and evolving manner.

Щеголев М. POM-21