Each writer will have their own unique techniques when they go about establishing a character. The physical features and story-events work together to develop an image for the reader, usually with the hope that it may reflect a character that the author has in mind. Outside library walls, building a coherent character plays a significant role in the work of local coroners, investigation teams or “Forensic Artists”. Accurate description and representation of reality become charged with flesh-and-blood value. The author’s ability may determine the safety of another. By compiling public sets of data from Canada’s Missing Database I wanted to create an alternative description for the missing persons.
WEEK 7: READING LOOKING DOING II
This week we looked at “The Digital Humanities Manifesto 2.0” and Todd Presner’s comments-“Digital Humanities Manifesto Launched”. Plus, Amaranth Borsuk’s, “The Upright Script: Words in Space and on the Page,” and Pathfinders: Documenting the Experience of Early Digital Literature.
From these works, I could spend the rest of the semester (or thousands of words) commenting on Amaranth Bursuk’s “The Upright Script: Words in Space and on the Page,”. I would like to look at her analysis of the impacts of data culture on poetry by the nouveau curatorialist-like manner of authorship and the capacity for the digital medium to embody spatiality.
As a curator, as stated in the “The Digital Humanities Manifesto 2.0”, one is making an argument through objects, words, images, and sounds… a spatialization of critical and narrative tasks (9). Environmental factors and needs determine the choices of a communication channel, that is, according to time and place or the spatial qualities. In digital poetics and literature, environmental factors are restricted. The transmitter (author) and receiver (reader or audience) are confined to the digital’s inherent representative or substitutional qualities. This form constrains any possible messages since the informability, detectability and localizability are no longer flexible but standardized by the medium.
In the past readers would rely on a combination of linguistic skill and imagination to discover meaning in written works. With the development of computer software and access to electronic literature, readers today arguably rely less on their abilities to read, because electronic literature allows for a variety of sensory experiences that go beyond the written word.
One of the exceptional differences between electronic poetry or artwork with the previous generation’s printed form is the addition of audio. Jason Nelson has a number of fascinating poems/interactive artworks that include prominent and bizarre audio effects, some of which are vocal readings, but I will be focusing mainly on the ambient sounds. This element of electronic literature interests me the most because it is a new medium for authors and artists to inform their audience outside of the traditional music and theatre genres that are defined by sound.
WEEK 5: Quests and Game Play
Donna Leishman, the Scottish author of Deviant: The Possession of Christian Shaw caught my attention immediately amongst our readings this week, so I will be focusing on her. In summary, we also looked at Digital Oddities and Creatures (amongst others) by Jason Nelson and Keith Stuart’s article in The Guardian titled “Basquiat meets Mario Brothers? on the meaning of art games”.
WEEK 4: FOUNDATIONS III – NARRATIVE PERSPECTIVE AND INTERACTIVE FICTION
To recap, this week we read Emily Short’s Galatea and Bronze, as well as Outrances by Thomas Crafts and Lit Fuse. Illy Szilak’s Queerskins was also examined.
Emily Short’s interactive fiction is a brilliant mixture of powerful folklore tales and contemporary game-play that leaves readers nostalgic and stimulated throughout. Before I opened Galatea I had imagined that the storyline would be sci-fi or fantasy focused, since titles like this are commonly used for Star Trek-like narratives these days.
Week 3: FOUNDATIONS II – DIGITAL POETICS AND MANIFESTOS
“what a time to be alive, where a feeling can be seen through a paradox of leaving and coming”
In summary, this week our readings were Vniverse, Sea and Spar Between & House of Trust by Stephanie Strickland. Plus Ingrid Anderson and Megan Sapnar’s Cruising, Deena Larson’s Carving in Possibilities and Reiner Strasser’s ii — in the white darkness: about [the fragility of] memory.
I have opened this reflective piece with a quote from Thomas Pynchon’s Gravity’s Rainbows. Not one of the chosen readings for this week but a work (or an author at large) that I see as a candidate for unmistakable connection to our list of authors.
The first and most obvious connection is to Stephanie Strickland’s Vniverse, since Pynchon also has a fondness for the symbol/letter/form of V, to which he dedicated his debut novel V. To add, the symbol also occurs as a central theme in the oh-so-popular graphic novel turned Hollywood film by Allen Moore, V for Vendetta.
The critical mass V has accumulated through out literary history, as the numeral, symbol, and/or letter is curious. What has drawn the authors to this shape? Is it inherent like the sharp arch that is biologically programmed into the members of a bird kingdom?