[nick monfort at #interventions]

Nick Monfort at the interventions conference talking about literature at the edge. Think of edges in graph theory and how endges act as connectors.
Sent from my BlackBerry® smartphone

[2010 horizon report]

One of the "Critical Challenges" from the (preview of the) latest report :


Digital media literacy continues its rise in importance as a key 21st century skill, but there is a widening training gap for faculty and teachers. Often not seen as a priority for faculty or teacher training, digital media literacy is nonetheless a critical skill not only for students but for those who work with them. Faculty and instructors are beginning to realize that they are limiting their students by not helping them to develop and use digital media literacy skills across the curriculum. This challenge is exacerbated by the fact that it is not clear exactly how to codify the skills or set standards for their measurement.


And, one of the "Key Trends":


Students are increasingly seen as collaborators, and there is more cross-campus collaboration. Using collaborative technologies, students are working with faculty and peers in other classes and on other campuses to create online resources that both demonstrate learning and contribute to public knowledge. Research projects are conducted by larger, more distributed teams than previously, and they are often becoming more public much earlier in the research process.





Relevance for Teaching, Learning & Creative Expression

• Tablet PCs—small, portable computers that fall in size and function between smart phones and laptops—are used to record and analyze field research during Bluegrass Community & Technical College's off-campus chemistry labs. 
• In addition to the free lectures offered on iTunes, many universities are making courses available for mobile delivery. 
• Medical students at the University of Louisville School of Medicine use their smart phones to check H1N1 updates from the Center for Disease Control.

Read the entire preview here.


Read tweets about the draft here.

[a mobile mobile]

Experience Mobile Mobile from James Théophane Jnr on Vimeo.

[digital writing: mfa applications sought]

Applications Sought:

 

A two-year position, including full tuition and a stipend, leading to an MFA.

Information on how to apply to Brown's graduate school is linked from the programme's website.

Since 1990, Brown’s Graduate Program in Literary Arts has earned recognition as an international leader in the field of electronic writing.  Today, writing digital media is part of the trans-departmental digital arts development at Brown involving Literary Arts, Music, Visual Art, Modern Culture and Media, Computer Science, and other departments. Links have also been forged with the Digital+Media Center at the Rhode Island School of Design. Though the focus is still on writing and thus on the text, students in literary hypermedia take courses offering the additional possibility of working in mixed hypermedia, including computer graphics, animation, electronic music, video, and virtual 3-D environments. A new experimental workshop, 'Cave Writing,' has been launched in Brown’s immersive virtual reality environment in the Center Computation and Visualization. Our faculty include Professor Robert Coover, who was the moving force behind these initiatives and, since 2007, Professor John Cayley.

Further information about ongoing activities can be found at http://writingdigitalmedia.org

Previous fellows: Talan Memmott, William Gillespie, Brian Kim Stefans, Daniel Howe, Aya Karpinska, Justin Katko. Current fellows: Samantha Gorman, Ian Hatcher, Edrex Fontanilla. Previous writing fellows who completed electronic theses or taught eWriting at Brown as graduates include: Bobby Arellano, Mark Amerika, Matthew Derby, Mary-Kim Arnold, Judd Morrissey, Noah Wardrip-Fruin.

Electronic Writing fellows have access to all the resources of the Literary Arts Program and its innovative and engaged faculty directed by Professor Brian Evenson. Please see the website for a complete listing.

 

 

 

[new media literacies: employment]

Project Manager:
Project NML seeks a detail-oriented, highly organized, and people-person Project Manager to handle the administration of NML's The Educator's House. This international project joins the NML team with Rio de Janiero's Department of Education to implement a new paradigm for teaching that fully integrates the new media literacies across curricula. The overarching mandate for the position is to provide direction for day-to-day project operations and leadership to staff and students involved. In addition to administrative responsibilities, the Project Manager will be part of a collaborative, distributed applied research program and will be required to demonstrate leadership responsibilities across all projects undertaken by the NML program. This position is housed at USC Annenberg School for Communication in Los Angeles, California.

Curriculum Specialist:

Project NML seeks a creative, media-savvy, bi-lingual in Brazilian Portuguese and English Curriculum Specialist to collaborate in the design of the strategies, content and structure of NML's The Educator's House. This international project joins the NML team with Rio de Janiero's Department of Education to implement a new paradigm for teaching that fully integrates the new media literacies across curricula. The overarching mandate for the position is to design and produce activities and class learning experiences; and to monitor, analyze and evaluate the effectiveness of the resources to achieve the goals and objectives of the project. In addition to these content development responsibilities, the Curriculum Specialist will be part of a collaborative, distributed applied research program and will be required to contribute to writing study results across all projects undertaken by NML.  This position has the potential to be a work-from-home position with regular scheduled meetings with the team both in-person and online.


Programmer:
Project NML seeks a creative and innovative web Applications Programmer to be responsible for the technical analysis and development of applications used in conducting research and providing education strategies. The overarching mandate for the position is to work collaboratively with NML's partner, Platform Shoes Forum, and contribute to design, development and refinement of the Learning Library (http://newmedialiteracies.org/library/).  This position has the potential to be a work-from-home position with regular scheduled meetings with the team both in-person and online. 

[creative industry phd opportunities: queensland uni]

Calling for applications for the upcoming scholarship round at the ARC Centre of Excellence for Creative Industries and Innovation in Brisbane, Australia:

Queensland University of Technology
ARC Centre of Excellence for Creative Industries and Innovation (CCI)
Research Higher Degree Project Opportunities

                   
September 2009 Scholarship Round

If you are considering applying for a scholarship in the current September round to pursue postgraduate research studies you may wish to consider connecting with projects we have in development here at the Centre (CCI) and pursue your studies with us at QUT. These projects will link you with industry, government or other partners in order to enhance your networks, the applications of your research, and potentially open up career opportunities as a result of your studies.

Here are a few of the project areas to give you a taste of these opportunities:

* Innovation and sustainability in Australian games and interactive entertainment with companies such as Firemint and Infinite Interactive, and government agencies such as the Australia Council (key contact person John Banks Ph: (07) 3138 8764; email: ja.banks@qut.edu.au)

* Australia's creative engagements with Asia in such fields as design, architecture, fashion and digital media with partners such as Austrade (Key contact person Michael Keane Ph: (07) 3138 3757;email: m.keane@qut.edu.au)

* Designing creative clusters in China and Japan with partners such as Arup (Key contact person Justin O'Connor ph: 0402 395 008; email: justin.oconnor@qut.edu.au)

* International development and empowerment through ICTs in south Asia with partners such as Intel and UNESCO (Key Contact Person: Jo Tacchi Ph: (07) 3138 8178; email: j.tacchi@qut.edu.au)

* Urban regeneration and creative reuses of space with partners such as eastern seaboard city councils and state government agencies (Key Contact Person: Justin O'Connor Ph: 0402 395 008; email: justin.oconnor@qut.edu.au)

Please note the QUT closing date for scholarship applications is Wednesday 30 September for international students and Friday 9 October 2009 for domestic students.

To apply go to: http://www.rsc.qut.edu.au/future/scholarships/Annual_round_awards.jsp

If you have any questions in regards to the application process please contact Britta Froehling (Ph: (07) 3138 3716; email: britta.froehling@qut.edu.au).

General inquiries about the Centre's research agenda and supervision capacity can be addressed to the Director, Stuart Cunningham Ph: (07) 3138 3743; email: s.cunningham@qut.edu.au.

[american army takes on some web 2.0 ideas]

"Join the Army, where you can edit all that you can edit.

In July, in a sharp break from tradition, the Army began encouraging its personnel — from the privates to the generals — to go online and collaboratively rewrite seven of the field manuals that give instructions on all aspects of Army life.

The program uses the same software behind the online encyclopedia Wikipedia and could potentially lead to hundreds of Army guides being “wikified.” The goal, say the officers behind the effort, is to tap more experience and advice from battle-tested soldiers rather than relying on the specialists within the Army’s array of colleges and research centers who have traditionally written the manuals.

“For a couple hundred years, the Army has been writing doctrine in a particular way, and for a couple months, we have been doing it online in this wiki,” said Col. Charles J. Burnett, the director of the Army’s Battle Command Knowledge System. “The only ones who could write doctrine were the select few. Now, imagine the challenge in accepting that anybody can go on the wiki and make a change — that is a big challenge, culturally.”

In recent years, collaborative projects like the Firefox Internet browser or Wikipedia pages have flourished with the growth of the Internet, showing the power of thousands of contributors pulling together.

Not surprisingly, top-down, centralized institutions have resisted such tools, fearing the loss of control that comes with empowering anyone along the chain of command to contribute.

Yet the Army seems willing to accept some loss of control. Under the three-month pilot program, the current version of each guide can be edited by anyone around the world who has been issued the ID card that allows access to the Army Internet system. About 200 other highly practical field manuals that will be renamed Army Tactics, Techniques and Procedures, or A.T.T.P., will be candidates for wikification.

As is true with Wikipedia, those changes will appear immediately on the site, though there is a team assigned to each manual to review new edits. Unlike Wikipedia, however, there will be no anonymous contributors.

Many in the Army have been suspicious about the idea, questioning if each soldier — specialist or not — should have an equal right to create doctrine, Colonel Burnett said.

“We’ve gotten the whole gamut of responses from black to white,” he said, “ ‘The best thing since sliced bread’ to ‘the craziest idea I have ever heard.’ ”

The colonel said that he was hopeful that by reaching out to the 140,000 members of the Army’s online forums, he would be tapping the kind of people who would be comfortable collaborating on the Web.

“Our motto is, ‘If you ever thought what would I do if the Army let me write doctrine, now is your chance,’ ” he said."

Read more here: http://www.nytimes.com/2009/08/14/business/14army.html?_r=1&pagewanted=2

[newspapers, new media & monetization]

Thanks to a link from @jayrosen_nyu I've seen this interesting article on how to obtain value from (or rather, monetize) online content. Zachary M. Seward notes that the meeting of industry execs held on Thursday was aptly titled "Models to Lawfully Monetize Content."

The report itself outlines five key changes (or "doctrines" according to Rick Edmonds).

• True Value. Establish that news content online has value by charging for it. Begin "massive experimentation with several of the most promising options."
• Fair Use. Maintain the value of professionally produced and edited content by "aggressively enforcing copyright, fair use and the right to profit from original work."
• Fair Share. Negotiate a higher price for content produced by the news industry that is aggregated and redistributed by others.
• Digital Deliverance. "Invest in technologies, platforms and systems that provide content-based e-commerce, data-sharing and other revenue generating solutions."
• Consumer Centric. Refocus on consumers and users. Shift revenue strategies from those focused on advertisers.

Why the interest in monetizing online content...to protect the print newspapers.

Paid content wall would protect print subscriptions

The report also suggests a paid content wall would help retain print subscribers, citing a recent USC Annenberg survey finding that 22 percent of online news readers said that they had dropped print subscriptions because they could most of the same content free online.

But is charging for online content the best way to generate revenue? Hard-hitting sales tactics doesn't seem synonymous with loyal readership. In James Warren's words: "collecting enhanced online newspaper user data across newspaper properties and mining that data to aggressively sell target content to specific audience segments across the network (e.g. golf enthusiasts)."

Newspapers need to get creative. Leverage some of the amazing web 2.0 tools to generate interest. Perhaps online versions might offer something for the long tail too which won't be present in the print versions (I know some newspapers are already doing this).



Note: The Huffington Post, having "reinvented the American newspaper," seems to do quite well (without a print version) though only 6% of it's news stories are original content.

[phd training session: digital literacy & creativity]

A full-day for the AHRC funded CEDAR (Collaborative Digital Research in the Humanities), organised by the Universities of Bangor (Dr Astrid Ensslin) and Aberystwyth (Dr Will Slocombe).

As I've noted before, I'll be talking about academic blogging and the digital literacy (a favourite topic of mine).

For the students participating, feel free to add comments as directed in the presentation.



Please comment on the idea of reading and writing as “an invisible skill” (see Sue Thomas's video, 16:00) and whether you find the Stroop test challenging or not and why.


Literacy + Technology + Creativity = Digital Literacy in the 21st Century

Important that these elements are seen as interdependent


Read The Whale Hunt here: http://thewhalehunt.org


UPDATE: Keno Buss and Sascha Westendorf have joined us for a bit about their project and some hands-on experience with the De Montfort Creativity Assistant.

[financial crisis :: humor]

[creative momentum]

Diversityworks in new Zealand have just launched Creative Momentum, a 'virtual movement around creative diversity'. Through an international website and local events they want to create more
awareness of creativity and diversity.

To begin with, they want to know what creative diversity means to you. Each month they will profile a featured creative and welcome you to comment, question and use this space to explore how creativity and diversity interact.

Visit Creative Momentum at http://www.creativemomentum.org

http://creativemomentum.wordpress.com

Join the virtual movement here: http://creativemomentum.list-manage.com/subscribe?u=060d69c34940f90bd7ae1fe0a&id=f59e1b6de5

[experimental media: call for scholar, research & artist in residence]

EMPAC is pleased to announce that it is accepting applications for both its Artist in Residence and its Scholar and Researcher in Residence programs.

Artist in Residence Program

The combination of artist-driven content with contemporary media and performing arts technology in the field of time- based arts stands in the center of the artistic research and production activities of EMPAC. EMPAC’s goal is to provide an environment to support the realization of works at any stage from inception to completion. This means that an EMPAC residency can support works which take a long period of time to develop and which may need different resources at different phases of the production. Along with a state-of- the-art facility, we offer residents the support of a full time staff of experts in audio, video and stage technologies. Commissions are initiated by EMPAC whereas residencies are open to artist proposals.

» More Information, Guidelines, + Application Process

Scholar and Researcher in Residence Program

EMPAC aims to create an environment of fertile creation, cross- pollination, and intellectual stimulation. Visiting scholars and researchers will participate in the formation of an intellectual community in scientific and engineering disciplines that may also engage perceptual and artistic knowledge and practice. EMPAC will also be a platform for research activities in areas such as augmented reality, virtual reality, scientific visualization, audification, haptics, human/machine interfaces and interaction, auralization, and multi-modal modeling in large-scale, fully media-integrated environments.

» More Information + Application Process

[scholarly publishing 2.0: mit goes open access]

MIT is asking its staff to contribute their articles to DSpace (a digital repository managed by MIT and HP) which will make them freely available. However, the choice remains with each staff member to grant open access to their contribution. So not sure really how well this will take off in light of several studies which suggest tenured professors prefer to publish in subscription-based publications. Also, DSpace does not contain "all MIT's research and is limited to digital research products."

From the Wall Street Journal:

"With academic journals charging libraries increasingly high subscription rates, Massachusetts Institute of Technology passed a resolution to make it easier for faculty authors to share and distribute their work for free.

MIT said faculty members will grant open access to all journal articles through DSpace, an open-source digital repository created by MIT and Hewlett Packard.

Professors usually strike up agreements to publish their works with individual journals, but once the copyright for a scholarly work belongs to that publisher, it can be difficult or impossible to reuse it for another publication or even as course material. University libraries are having a tough time keeping up with rising subscription costs.

“Scholarly publishing has so far been based purely on contracts between publishers and individual faculty authors,” says Hal Abelson, a professor of electrical engineering and computer science and chair of MIT’s committee on open-access publishing. “In that system, faculty members and their institutions are powerless. This resolution changes that by creating a role in the publishing process for the faculty as a whole, not just as isolated individuals.”

Read more here.

[call for artists: £5.4m project for cultural olympiad]

Artists of all kinds from across the UK are being challenged to use the nation as a blank canvas for twelve inspirational commissions that will showcase our creativity to the world, as part of the London 2012 Cultural Olympiad.

Artists of all kinds from across the UK are being challenged to use the nation as a blank canvas for twelve inspirational commissions that will showcase our creativity to the world, as part of the London 2012 Cultural Olympiad.

‘Artists taking the lead’ is the most ambitious and wide ranging art prize in the UK and is being developed by Arts Council England, in partnership with London 2012 and the arts councils of Northern Ireland, Scotland and Wales.

12 commissions of up to £500,000* will be awarded to create 12 new works of art across the country; one in each of the nine English regions, and in the nations of Scotland, Wales and Northern Ireland. (*See Notes to Editors for the value of commissions offered in each Nation and Region)

‘Artists taking the lead’ is the first of ten major projects of the London 2012 Cultural Olympiad to be launched. It provides artists across the country with an unparalleled opportunity to create work that celebrates the London 2012 Olympic and Paralympic Games and reflects the rich cultural diversity of the UK.

Moira Sinclair, Executive Director of Arts Council England, London, said on behalf of the UK arts councils: “The London 2012 bid was always about more than England’s capital city and about more than sport. Artists taking the lead illustrates that bigger, bolder vision – of art inspiring people up and down the UK to celebrate the Olympic Games, of nurturing and developing our artistic talent, and of culture and creativity at the heart of our national life.

We’re excited to be laying down such a unique challenge to artists. We want them to look at their region and their connections with fresh eyes, to mark a moment in our histories in unexpected ways and places across the country, to surprise and delight the world with their extraordinary artistic vision.”

From today,19 March, until Friday 29 May 2009, artists can submit their ideas for the commissions online at www.artiststakingthelead.org.uk

Read more here: http://www.london2012.com/news/media-releases/2009-03/artists-take-the-lead-in-5-4m-project-for-cultural-olymp.php

[elements of digital storytelling]

Check out this amazing project over at the University of Minnesota. The School of Journalism and Mass Communication’s Institute for New Media Studies and The Media Center - Nora Paul and Christina Fiebich - address questions like:

What is unique about the digitial environment? How do users respond to it? How
can its potential be maximized? The Institute for New Media Studies and New
Directions for News are investigating these questions.

The Elements of Digital Storytelling site provides a:

• Taxonomy of digital storytelling


• Analysis of current practices


• Clearinghouse of effects research


• Showcase of innovative story forms


• Forum for discussion

[writing and publishing panel session]

Chaired by Kate Pullinger, speakers include Sara Lloyd, Michael Bhaskar and Chris Meade.


Chris Meade: "How new media writers do, could and will make their way in the world"

• How to earn money? No business model.
  
• Andy Campbell says: "The ratio of research/theory documents to actual quality work in the field is embarassing."
• consulting, teaching, writing
• "Presentation skills can be really useful" - Tim Wright
• need to be amplified individuals (i think this is from andrea saveri)
• there are all kinds of webby businesses that new media writers could get into - blogging, args, projects, e-learning
  
• think of project i mentioned this morning by the hon brothers, 21 steps geo taagging project and others. dan hon says "there's still a stigma attached to writing for the online world"
• how to collaborate - showcases, clusters, events, making the case together, spindlers are doing it for themselves
• Christine Wilks has uplifting quote: "you may find your source/s of income are around the edges of your main area of creative interest. It's an experimental field, so be flexible and inventive, and be prepared to learn, learn, learn - never stop learning."

Sara Lloyd

• talks about the manifesto she wrote on publishing in the 21st century
• publishers won't be needed in the future unless they get their act together
• did this to stir lethargic publishers, start a debate
• lesson in new media publishing, the journal that officially published the manifesto, allowed sara to publish it independently on her site
• means there's a value to sharing content

Michael on how Pan MacMillan's the digitalist blog interacts with the world

• the digitalist blog began as an internal newsletter
• place to try ideas
• converse with readers
• access knowledge of the readers by following links, this is engaging in conversation and enabling a level of transparency
• "we're not just giving the pan macmillan line on things....using it to sell more books...actually we're trying to make an argument...not a standard bs corporate blog"

[african writing and new media]

(live blogged)

2 presentations on african new media writing

first up - Nur Yaryare of the Sommali Afro European Media Project

• SAEMP an online community TV station based in Leicester
• currently piloting the broadcasting of a number of prerecorded channels
• programmes that are presented range in social health, education, faith, local events, news etc...
• see www.saemp.org.uk
• tackles image of arabs are terrorists with the online site and the paper newsletter
• see www.saemp.org.uk/videos.php for videos and podcasts

2nd up - Anieti Isong, current phd student with Prof. Sue Thomas as supervisor. He is a novelist and his first book is to be published this year

• see youtube video on kenya - big differences since the use of mobile phones (see kenya's mobile revolution - part 1)
  
• huge technological leaps happening in kenya including paying for items using mobile 'phones - "using phones as wallets"
• what is african writing -goes back to Chinua Achebe who published Things Fall Apart in 1958, father of modern african literature
• there was the Heinemann African Writers series started in 1962
• then wole soyinka awarded nobel prize in 1986
• emerging african writers liks helon habila, chimamanda, helen oyeyemi, pettina gappah, mary watson, toly ogunlesi, brian chikwava, afolabi, binyavanga wainaina, monica nyeko, chika unigwe
• these writers are willing to experiment: homosexuality, crime, take risks
• some journals - eclectica, open wide, author-me, story south, g21, in posse review
• but now african online journals - african writing online, farafina, african writers, new gong, kwani, sentinel, chimurenga
• key issues: how has the internet influed writing and what do the readers make of this?
• the reach for online stories is global - everywhere there is an internet connection
• see great video poem about nigerian going back home after studying in england - cifeozo, "homecoming"
• blogs as form of storytelling - Diary of a Randy Man: "I woke up in the middle of the night to discover the duvet on the floor. she was lying on her side facing me, her nightie had opened..."
• Confusednaijagirl - deals with child abuse
  

[reader 2.0]

Here is some info from my presentation on how I see readers who engage with born digital works.

Links to the web works I mentioned in my presentation:

http://twitter.com/manyvoices
http://www.flickr.com/photos/lynetter/2099009488/in/set-72057594139269787/
http://www.viddler.com/explore/hughgarry/videos/12/97.564/
http://emersoninbeijing.com
http://www.wetellstories.co.uk
http://thewhalehunt.org
http://transition.turbulence.org/Works/dynamo/index.html

Screen shots and the presentation to follow.

[creative writing & new media masters campus week seminars]

Following yesterday's slog, the students get a bit of a break today when they can sit back and listen to a few presentations including one by me on reading multimodal narratives, a panel on african digital literature and Peter Howard on digital poetry.

From the programme:

10.00-11.00 Meet your Reader Dr Jess Laccetti presents a reader�s eye view of new media writing.

11.00-11.30 Break

11.30-12.30 African Writing and New Media
Chair: Professor Sue Thomas
IOCT PhD student and novelist Anietie Isong introduces his research into African Writers and the Internet, and Nur Yaryare of the Somali Afro European Media Project presents his plan for a new media African heritage project in Leicester.

12.30-13.30 Lunch break

13.30-15.00 Writing and Publishing New Media
Chair: Kate Pullinger
Sara Lloyd and Michael Bhaskar, digital editors at Pan Macmillan, discuss Sara�s Book Publisher�s Manifesto for the 21st century, and Chris Meade, former CWNM student and Director of if:book London, presents Digital Livings, a report commissioned by CWNM to assess the potential of new media as a career path for writers.
Preparatory Reading for this session:
Book Publisher’s Manifesto for the 21st century by Sara Lloyd
Digital Livings by Chris Meade

15.00-15.30 Break

15.30-16.30 E-Poetry
This year CWNM offers an E-Poetry workshop for the first time. Tutor Peter Howard presents an introduction to E-Poetry including a selection of his own work.

Read more at the ioct blog.

[creative writing and new media campus week]

This week, four weeks into the Online Masters in New Media and Creative Writing, is an opportunity for all the students to get together and meet each other in real life. Yesterday was their first day, a chance for all to catch an English breath and today they're all hard at work giving presentations. I've had the lucky chance to participate as a second marker on the presentations which have been incredible. As we break for lunch, I'm able to grab a moment of thought to ruminate on the presentations and then after lunch we'll finish with the final two presentations.

This morning I've learned about writers. Not writers in general, but writers, dreams and creators who are very specific entities. Thinking about the presentations is making me reconsider my previous thinking that I might be able to group "writers" and "readers" and individual groups (though of course some may blend between both groups). Based on the the writers/creators this morning, there is no such thing as "writers" but rather "a writer" in a singular and sense unique to each creator. Everyone today has been influenced by different people, occasions, thoughts and feelings. Poignant, for Barrington Salmon, is the role his mother (mother, worker, creator, chef, inspiration) in his poetry and stories. Leo, instead, finds creativity in the work of Rollo May, Daniel Pink, Banksy, Ken Robinson and more.

Melodie Daniels spoke about not liking The Old Man and the Sea, but interestingly she doesn't like it precisely because of Hemingway's gift with language. She, like me, doesn't want to be stuck out on the boat with the old man who was "thin and gaunt with deep wrinkles in the back of his neck" (http://www.scribd.com/doc/21616/The-Old-Man-and-the-Sea). Even though Hemingway's language, at least in this story, is "spare and compact," everything is so vivid. Hemingway's language makes the reader feel there, in the boat with Santiago.

"The Old Man and the Sea could have been over a thousand pages long and had every character in the village in it and all the processes of the way they made their living, were born, educated, bore children etc. ...I have tried to do something else....I have tried to eliminate everything necessary to conveying the experience to the reader so that after he or she has read something it will become part of his or her experience and seem actually to have happened."

nb. the image on the right of this post is a scanned in version of Melodie's first poem.

Sukai Bojang is also interested in language but she's focusing more on the oracular version. Recovering folk talks and translating them into English, Sukai is hoping to not only reach a different set of readers, but also to pass on cultural artifacts and help literacy rates in The Gambia. One of her inspirations is Chinua Achebe.

Still to present are Tia Azulay and Jaka Železnikar. I'm looking forward to hearing how and if South Africa has had an impact on Tia and her writing. I'm thinking of Andre Brink, J.M. Coetzee, Breyten Breytenbach, Nadine Gordimer, Mongane Wally Serote and and and...

[new media writing and publishing, 22 Oct 2008, ioct]

Every autumn, First Year CWNM students spend a week on campus at DMU. This year Campus Week includes a day of discussion open to DMU students, staff, and the general public. It takes place on Wednesday 22 October 2008 at the Institute of Creative Technologies, De Montfort University, Leicester. Admission is free and booking not required, but space is limited so arrive early to secure a seat.

10.00-11.00 Meet your Reader Dr Jess Laccetti presents a reader’s eye view of new media writing.

11.00-11.30 Break

11.30-12.30 African Writing and New Media
Chair: Professor Sue Thomas
IOCT PhD student and novelist Anietie Isong introduces his research into African Writers and the Internet, and Nur Yaryare of the Somali Afro European Media Project presents his plan for a new media African heritage project in Leicester.

12.30-13.30 Lunch break

13.30-15.00 Writing and Publishing New Media
Chair: Kate Pullinger
Sara Lloyd and Michael Bhaskar, digital editors at Pan Macmillan, discuss Sara’s Book Publisher’s Manifesto for the 21st century, and Chris Meade, former CWNM student and Director of if:book London, presents Digital Livings, a report commissioned by CWNM to assess the potential of new media as a career path for writers.
Preparatory Reading for this session:
Book Publisher's Manifesto for the 21st century by Sara Lloyd
Digital Livings by Chris Meade

15.00-15.30 Break

15.30-16.30 E-Poetry
This year CWNM offers an E-Poetry workshop for the first time. Tutor Peter Howard presents an introduction to E-Poetry including a selection of his own work.

16.30-17.00 Plenary

17.00 End

[digital stitchings: my interview with rachel beth egenhoefer ]

I recently did an interview with digital/textile artist/creator Rachel Beth Egenhoefer for Furtherfield:

Jess: What are the main differences (pros and/or cons) of creating a work that is to be experienced digitally, and that which is contained within physical material borders (sweets, fabric etc...)? - this is very much a question to you as a *creator*

Rachel Beth: In some ways I feel like this is a hard question for me to answer because my work is very much about bridging these two experiences and pointing out that they aren't that different.

There's lots of clich'e answers like the digital being accessible anywhere on the web and that the material has the traditional sense of making and 'aura', but my work really sits between them and is about bringing the two together. Making the digital tactile, and the tangible coded.

Jess: What aspects of the digital would you like to be able to bring into your future work?

Rachel Beth: My most recent work, and the work I did during my residency in the UK uses motion and acceleration tracking. I'd like to continue using ideas around mapping motion and interaction. I'm not so interested in data visualization but rather how mapping actions and systems can make for new interactions or parallels. I've also begun to work with hacking the Nintendo Wii that has just kind of opened a whole slew of ideas. So I can see myself working more with that.


Jess: How would you define a literate reader/experiencer of your work? (I'm thinking especially of the lovely melting sweets...how do you want your IDEAL audience to participate?)

Rachel Beth: I don't really have an ideal audience. I strive to have multiple entry points in my work. I've had computer scientists view my work who know much more about code than I do but never knew that a knitting pattern looks exactly the same, or ludites who hate technology but suddenly realize there are simple, beautiful concepts in computing. Some people see my work and don't realize it's even a piece, some people spend hours coming back and looking at it. I'm okay with either of these extremes. It's my hope that people find something to grab on to or relate to. Leaving a door partly open allows other people to add their own perspective as well. It's always rewarding (well most of the time rewarding) when people discover things in your work you didn?t see before.


Read more over at Furtherfield.

[how to write fiction]

This morning's Guardian has arrived. After briefly skimming the front page and a lengthy read of the Money section (100 questions about the current *financial* climate answered!) I happily found Kate Pullinger's tutorial on "How to Write Fiction." Working with Sue Thomas, Kate runs DMU's Online Masters in Creative Writing and New Media (and is author of Inanimate Alice with Chris Joseph) and thus is the perfect person to write this user-friendly guide. I'm definitely going to memorise these tips including the suggestion to "turn off your word count."

This guide book doesn't tell you where to buy your ideas: "Asda for chick-lite, perhaps, Waitrose for literary fiction," but it certainly includes loads of opportunities for laughter (not something I would expect from any guide). Kate tells us that writing is about "graft" rather than just a great ideas and that the act of writing is the important thing:

"But really, the best way to start writing is to start writing. Get the words down onto the page. For many writers the most productive technique is to push on, regardless of what crap they are spewing. Bad writing can be imprved upon, can be polished and cut and shaped and revices. A blank page is just that, and the only thing it is good for is driving you crazy."

Besides the instructions concerning genre, character, setting etc and the wide reference to other writers, there is a checklist:

1. Is the beginning too slow?
2. Have I "killed my darlings"?
3. Have I checked my grammar and punctuation?
4. Have I laid out my dialogue properly?
5. After my compelling beginning, amd I keeping my reader interested?
6. Is it finished?

If you don't have the Guardian hardcopy, each of the eight steps included in the guide are available as separate articles on the Guardian site.

[Future of Creative Technologies - new IOCT journal]

The Future of Creative Technologies is a new journal just launched by the IOCT at DMU. In the first 18 months of the IOCT's lifespan (yup, it's only been 18 months) the IOCT has benefited from a wide range of significant and fruitful partnerships. This first issue of the journal reflects on those relationships and includes "thought pieces" and articles from each of the keynote speakers. Authors include Howard Rheingold, Claudia Eckert, Bruce Mason and Sue Thomas, Wendy Keay-Bright, Pauline Oliveros and Martin Rieser. All the pieces are extremely interesting and as they've been pulled together into this publication you can really see how transdisciplinary the IOCT is.

In the opening editorial director of the IOCT, Prof. Andrew Hugill says:

"The diversity of the content is deliberate, and is intended to stimulate readers not only from the range of disciplines represented herein, but also as a way of exploring further a discussion which lies at the heart of the IOCT: what does it mean to be transdisciplinary? how can we foster good practice in transdisciplinary research? and, what outcomes might we expect from such research?"

These are similar questions which will be taken up in an academic context in the conference I'll be organising (provisionally slated for 2010) and out of which will grow an academic publication.

[interrupt festival hosted by john cayley]

eUInterrupt 2008, to be held at Brown University from October 17-19, is a three-day festival of readings, performances, and symposia organized around the theme of “interruption” in digital art and programmable literary practices. Why “Interrupt”? In computing, a hardware interrupt request or IRQ is used to prioritize the execution of certain processes over others. It is a command sent to the processor to get its attention, signaling the need to initiate a new operation.

In the context of contemporary art, the act of interruption is a performance that redirects threads of process and lines of thought into fields of new expression. Interrupts trigger the moment when a process of creation yields a public manifestation. The cycle of ongoing work is paused by a challenge, calling for the attention of a provisional community: just as we read ICQ as “I seek you,” we can read IRQ as “I argue.” In this sense, interrupts articulate critical thresholds at which formal expressions are offered up to (or forced into) new circuits of communication, countering that which came before and making a case for new artistic and political futures.

We ask you to attend and participate.

Artists in Residence:
* Young-Hae Chang Heavy Industries *

Confirmed Headliners:
* Alan Sondheim & Foofwa d'Imobilité *
* Laetitia Sonami *
* Eugenio Tisselli *
* Marko Niemi *

Details and arrangements to be confirmed:
* cris cheek *
* Abigail Child *
* Chris Funkhouser *
* Loss Pequeňo Glazier *
* Talan Memmott *
* Bill Seaman and Penny Florence *
* Patricia Tomaszek *

Critics, theorists, artists and students who would like to attend are asked to contact John_Cayley (at) brown.edu. We will be organizing two or more round table sessions during the festival, and we invite brief presentations intended to spark critical discussions relating to the work of interruption within the context of digitally mediated language practices. Participants will also be invited to instigate discussion at these round tables.

If you would like to attend, and particularly if you have institutional backing, we ask you to consider supporting Interrupt with a registration contribution of $50 (checks only please) made out to 'Brown University' and sent to:

Interrupt 2008
Brown University
Literary Arts Program
Box 1923
Providence RI 02912

For letters of invitation, please contact John_Cayley (at) brown.edu. Register now.

To read more about what we mean by Interrupt and for other details about the festival – including the preliminary program, schedule, location, venues, and accommodation information – please refer to our website: http://interrupt2008.net

Organized and hosted at Brown University and the Rhode Island School of Design by graduates and undergraduates from Literary Arts, Modern Culture and Media, MEME, RISD D+M, and other departments.

Funding and support for Interrupt currently includes the following sources: Brown Creative Arts Council, the Literary Arts program, RISD Digital+Media, MEME, the Brown Graduate School, the Comparative Literature department.

[Creative Writing and New Media MA Showcase]

Another event - 2 in 1 day! - at the IOCT. Following Andrea Saveri's talk on Amplified Individuals we have the Online MA's showcase of the first two years that the course has been running.

Along with the presentations is a pamphlet giving a bit of a context of the first two years of work as well as bios of all the students. Disclosure: I wrote the essay. Tomorrow this will be downloadable from the course website: http://www.creativewritingandnewmedia.com/

From the IOCT Salon blurb:

"The Online MA in Creative Writing and New Media at De Montfort University is designed for writers interested in experimenting with new formats and exploring the potential of new technologies in their writing. This first annual CWNM Salon is a unique opportunity to enjoy the best work from the first two years of the course with installations and talks from some of the students."

Note: Check out Chris Meade's "Digital Livings" booklet which takes a look at how to make money as a writer in the new media world. There is a downloadable version which will be available soon.
****
First Up
Chris Meade - "Drumming Becoming: The Role of Percussion"

Chris's presentation with drumming is here.

An excerpt:
"In the 90s in Birmingham libraries we ran a project about Silence.
A brilliant young percussionist
whose name now escapes me
played in the Central Library, built up more and more sound
around the ambient hum
of escalators, footfall,murmurings, phone bells.
How much could he enhance the sounds of a place that's thought of as silent
without rupturing the hush?"


After the presentation on drumming Chris "reads" his song on the future of the book. Although he knows the words by heart and the rhythm is his own, still while reading live and aloud the rhythm is slightly different from the recorded version. So at times we can hear the live version slightly before the recorded one. It's like a long-distance telephone call.

****

Toni Le Busque on "Miffy Johnston's Toenails and Other Stories - a combination of fiction and non fiction 100 word stories using Sophie ( http://www.sophieproject.org ), an open-source platform for writing and reading rich media documents in a networked environment, created by The Institute for the Future of the Book."

Early on in the MA Toni decided to start writing stories of 100 words. Enough to get her points across but still easily digestible for the web.

Toni's "America" video used free archive.org images. The music is also copyright-free. Check out lebusqe.com for links to all of Toni's work.

Interestingly with Toni's work with flash page-turning software (Sophie from the Future of the Book) a lot of people "had a go at her." Some suggested she was a proponent for the death of the book. Interesting. If anything this kind of tie to print books suggests a respect/awareness of tradition? As a defense to this Toni says she has to pay a lot of attention to design. She is not the "poor man's" novelist.

****
Kirsty McGill - Discussing her ongoing project to develop a next-generation rich-media tour for the UNESCO World Heritage city of Bath.

Realised that existing virtual tours are pretty bland, mostly text and hardly any narrative, just read the wikipedia definition:

A virtual tour (or panaramic tour) is a simulation of an actually existing location, usually composed of panoramic images, a sequence of hyperlinked still or video images, and/or virtual models of the real location. They also may use other multimedia elements such as sound effects, music, narration, and text. As opposed to actual tourism, a virtual tour is typically accessed on a personal computer or an interactive kiosk.

Rather different from a *real* tour guide is the inability to ask the guide questions. Kirsty has been creating a question-and-answer facility with a chatterbot with pandora: http://www.pandorabots.com/botmaster/en/home.

Read Kirsty's blog for updates on her project: Custard Ether.

****
Claudia Cragg
http://ourworld.compuserve.com/homepages/ccragg/ "If you build it, they will come". To what extent does this apply to Facebook and MySpace sites and, if no one comes, just exactly what can you do about it? Claudia will discuss this and other questions in relation to her Aung San Suu Kyi (Burma) Lab research Participatory Media project: http://108presentsforsuu.googlepages.com/home .

Been a journalist since last '70s and asked to help collect signatures and raise awareness for Myanmar's Aung San Suu Kyi. How to raise awareness? Well the world is suffering from "charity fatigue" so a new media way might be the "sexiest" way to get the word out. First do a vast amount of reading! Second: how do you actually crowd source, how do you get to the crowd?

Note: web 2.0 basically makes the printed word and journalism more "dynamic." Interesting.

If the message isn't enough, need to generate and maintain interest - keep people there more than 10 seconds.

Following Howard Rheingold, it's not enough to just have a website, need to have other ways of sharing info such as Facebook , Twitter and a blog. (link frontline sms as used by Obama).

Background findings - older people won't join Facebook to add their signatures to the petition.
Learnt a number of lessons - thought enthusiasm and demonstrable results would be enough to convince old media journalists - nope, they just don't get it. A blog is absolutely essential. Twitter has been successful but not as successful as Claudia thinks...despite coverage in the Wall Tweet Journal. So telephony based communication is essential for the future of any collaborative projects. Claudia says most of what she has learnt isn't exactly technical but human - she needs a team to create the project.

****
Christine Wilks
http://www.crissxross.net

Fitting the Pattern: or being a dressmaker's daughter -
a memoir in pieces (embroidered)

Cutting through the memories, stitching up the fabrications, pinning down the facts, unpicking the past... An interactive memoir, created in Flash, exploring aspects of my relationship with my dressmaking mother.

Christine reads out exerpts but there's a bit where she talks about being bullied for her "softly tailoured outfits" and does this fantastic "northern" accent.

"How we were turned out was more important than how we turned out."

"In her outfits I didn't fit in I stuck out and felt stuck up."

****

Alison Norrington
http://www.alisonnorrington.com Showcasing Staying Single, Alison's first cross-media work of fictional blogging which gave readers a variety of ways to engage, participate with and receive the story, including fragmented chapters emailed to subscribers, SMS alerts through Twitter, mini documentaries of real-life stories, meet-ups in Second Life and Machinima films. She will also offer a sneak-preview of her plans for her second cross-media fiction I love NY.

For Alison's dissertation project she wanted to give her readers ways of interacting with the story (if they wanted to) and "be more immersed."

Realised that although she had 15 chapters ready (for Staying Single) but it wasn't current or "punchy" enough. By writing it every day instead of uploading before hand she was able to pull from current events (Jordan and Peter Andre) and create more bite-size bits.

Offered:

Daily posts on blogger, e-mail to subscribers, podcast chapters, sophiedilemma.com, youtube documentaries, social networking (bebo, myspace, facebook), twitter, second life, forum, micropoll - with hindsight this was way too much to run.

On MySpace was a bit seedy - the people who approached Alison (as Sophie) were all about not staying single...While Facebook attracted more of the mid 30s-40s crowd.

When Alison went on holiday she wasn't sure how that would work with the story. So decided that Sophie would go on holiday too. Alison then asked if readers would like a postcard from her holiday, 85 real people responded so Alison spent a good part of her day sending out real cards.

Participation: asked readers to send in their best and worst chat-up lines which then appeared online. Some hilarious ones that I'm not blogging here....

Three most popular ways to get to the story: youbtube, second life meet ups and e-mails from sophie

New Story: I Love NY

long distance relationship between and American stoke-broker who is quite laddish and society-like and the fiance who is based in London and is more Bohemian. Right now there is a Facebook profile and youtube. But wants to add an interactive sticker project/game, wedding inviations and justin (product launch of "just in case" special bag with sleep-over necessities like toothbrush etc...). Interestingly for Alison, what all these other outlets provide is more of the "background" story.