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

Seminar # 5 Kinetic fiction

 

Summarizing

Kinetic poems, also known as interactive or digital poems, are a fascinating form of poetry that utilize technology to create an interactive and dynamic experience for the reader or viewer. There are several types of kinetic poems, each with its own unique characteristics and approaches.

The difference between kinetic poems lies in their specific design, intended experience, and the use of different technologies and artistic techniques. Some kinetic poems may focus more on visual aesthetics and motion, while others emphasize interactivity and user engagement. The overall impact and interpretation of a kinetic poem can vary greatly depending on its specific design choices.

Kinetic poems often aim to merge traditional poetry with contemporary technology, creating a unique fusion of art forms. By leveraging dynamic and interactive elements, kinetic poems can offer a new way to experience and engage with poetry, appealing to a broader audience and expanding the possibilities of poetic expression.

Examples of kinetic poems can be found in various online platforms and digital art galleries, showcasing the creativity and innovation of artists and poets working in this medium. Exploring and experiencing different types of kinetic poems can provide a deeper understanding of the possibilities and potential of this dynamic form of artistic expression.

In the ”Faith” we can find all three levels of entax:

• Micro-entax (morphology), which deals with the morpheme;

• Meso-entax (semantic) which deals with the lexeme;

• Macro-entax (pragmatic) which deals with the sentence in its context.

Щеголев Максим POM - 21

Seminar # 4 Hypertext and hypermedia fiction

 

Seminar # 3 Electronic generative fiction

 

Summarizing

Scott Rettberg's generator "The Frequency" utilizes different constraints to generate its poems. These constraints determine the syllabic forms and rhyme schemes that are employed.

1. Syllabic forms: "The Frequency" utilizes syllabic constraints, which focus on the number of syllables used in each line or stanza. Rettberg explores various syllabic structures to shape the poems. For example:

    1. What is a hundred      (6 syllables)

    2. years to a mind       (5 syllables)

    3. that reads paper      (6 syllables)

    4. ephemeral as shelf    (7 syllables)

Or:

    1. Like your dropped     (4 syllables)

    2. new dollar                   (4 syllables)

    3. mountains that sink    (6 syllables)

    4. with each swing          (5 syllables)

These examples illustrate how Rettberg plays with syllable counts to create rhythmic patterns and control the flow of the poems.

2. Rhyme schemes: "The Frequency" also incorporates rhyme schemes, adding a melodic quality to the generated poems. Here are a couple of examples of rhyme schemes from "The Frequency":

For example:

    Stanza 1:

    1. Is there a disguise   (A)

    2. in aching glass        (B)

    3. slippers, a passage (A)

    Stanza 2:

    4. to a different life?    (A)

    5. In every ending,        (B)

    6. is there an epigraph (A)

Or:

    1. correo de historia   (A)

    2. la sal                 (B)

    3. con salsa verde.    (A)

    4. corona                (B)

    5. cenizo sin queso. (A)

These examples demonstrate different rhyme schemes, denoted by letters. The patterns vary, such as AABB, ABAB, or AAA, providing distinct tonal and rhythmic effects.

Extending

The Frequency Project, inspired by Oulipo's constraints, aims to create a cohesive narrative through constrained writing. It includes a poetry generator and a forthcoming novel. The novel incorporates Flickr tags and Creative Commons licensed photos, alongside a sequence of commonly used English words.

Key aspects of The Frequency Project:

1. Coherent narrative through constrained writing.

2. Hypertext format for multiple reading experiences.

3. Exploring the idea of collective consciousness reflected in the text.

4. Creative Commons licensing, encouraging remixing of the work.

5. Integration of separate yet related poetry project.

6. Atomistic fiction, combining distinct narrative moments.

7. Adaptability to different platforms, including blogs, poetry generator, hypertext, and print books.

8. Anticipated release of the first part of the novel at e-Poetry festival in Barcelona.

Щеголев Максим POM 21

The Frequency Project, by Scott Rettberg, is a collaborative literary experiment that explores the possibilities of writing within digital networks. The main principles of this project can be summarized as follows:

1.    Collective creation: The Frequency Project emphasizes collaboration and collective creation.

2.    Distributed authorship: The project challenges the traditional concept of authorship by allowing multiple authors to contribute to a single work.

3.    Open access: The Frequency Project is open to anyone with internet access.

4.    Networked writing: The project explores the unique possibilities of writing in a networked environment.

5.    Experiments with form: The Frequency Project encourages writers to experiment with different forms, structures, and genres.

6.    Iterative development: The project follows an iterative development process, where each new contribution builds upon the work that came before it.

7.    Reader participation: The Frequency Project encourages reader participation and engagement.

8.    Reflection on digital culture: Through its exploration of the possibilities of writing within digital networks, the Frequency Project prompts reflection on the role of technology, digital culture, and the internet in shaping contemporary literature.

The main idea of the Frequency Project by Scott Rettberg is to explore the possibilities of collaborative writing in a networked digital environment. It aims to challenge traditional notions of authorship and create a space for collective creation and participation. The project seeks to embrace diversity, experimentation, and openness by inviting writers from different backgrounds to contribute to a single work. It also reflects on the impact of technology and digital culture on contemporary literature, prompting reflection and engagement from both writers and readers.

By  Agulyarnaya Milena POM-21

What are the main principles of the Frequency generator?

The main principles of the Frequency generator are:

1. Constrained writing. The generator is part of a larger constrained writing project inspired by the Oulipo. It uses various constraints to develop poetry and fiction.

2. Coherent narrative. Despite the obvious constraints, the generator aims to produce a coherent narrative in its generated poems.

3. Hypertext structure. The generator is designed to deliver multiple fragmentary but coherent reading experiences in multiple reading sessions.

4. Collective (un)consciousness. The text derived from commonly used English words and popular tags in order to reflect a collective consciousness or lack of it.

5. Creative Commons fiction. The entire project will be released under a Creative Commons non-commercial attribution license. This allows for remixing and encourages others to engage with the work.

7. Multi-platform delivery. The work is intended to be delivered in different ways and on different platforms.

The main idea of the project:

The main idea of the Frequency Project is to explore constrained writing practices by creating a coherent narrative using various constraints. It also explores the concept of collective consciousness by incorporating commonly used words and tags from photographs.

 By Stenina S., POm-21

Seminar # 2 Digital environment properties &Electronic literary text features

 

by Agulyarnaya Milena POM-21

Interpreter Initiative: Many early works of electronic literature created in extinct hardware or software systems can best be preserved by programming interpreters (and/or emulators) that run the works on new computers "as if" they were in their original environment. It’s proposed to develop open source interpreters to "run" important or populous categories of e-lit so as speedily to restore large numbers of older works to readable status. Secondary priorities include the development of additional interpreters (including high-priority but technically challenging ones), assisting open-source communities working on relevant emulators, and creating supporting documents and services for software interpreters.

Щеголев Максим POM-21

The strategy for migration - to interpret or emulate electronic literature.

Since there are early works of electronic literature that were created in extinct hardware or software systems, they can be preserved by programming interpreters that represent the works on “new computers "as if" they were in their original environment”.

The strategies for interpreting or emulating electronic literature include:

1)     "per-work" techniques (porting and reimplementing). Porting involves converting the source code of an electronic literature work. Reimplementing involves writing a new program that does the same thing as the original program.

2)     per-category" techniques (interpreting and emulating proper). Interpreting is the approach of developing a free, open source interpreter that applies to those works that run in an interpreter of some sort. The benefits of this approach are that the number of works per interpreter approaches one. Emulating proper is the approach that deals with the development of an emulator -  a program that effectively implements a hardware computer in software.

by Ukolova A., POm-21

One strategy for migration is to interpret or emulate electronic literature so that works now difficult or impossible to read can be experienced once more in a form as functionally like the original as possible.

These strategies may be grouped under the rubrics of "per-work" techniques (porting and reimplementing) and "per-category" techniques (interpreting and emulating proper), where the former method targets individual works and the latter classes of works.

Pre-work:

Porting works directly - Porting involves converting the source code of an electronic literature work

Reimplementing involves writing a new program that does the same thing as the original program/

The highest priority is to develop a set of open source (GNU GPL, "General Public License") interpreters for important kinds of electronic literature. (Assisting open source communities in creating emulators is also important, but a lesser priority.) Such a development effort will have the benefit of a near-term payoff that will immediately make accessible a large number of important early e-lit works. Front loading development in this way will be important in winning acceptance for e-lit preservation efforts among stakeholder communities and funding organizations 

by Ivleva A. POM-21

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. See the Test Task section, and do the Mind Map task on you own (follow the instructions).

by Kormich D. POM -21

by Agulyarnaya Milena POM - 21

by Senina S. POM - 21