[creativity 2.0]

Elizabeth Gilbert (Eat, Pray, Love) muses on creativity:

[teaching digital writing]

If I was still living in England..... This conference will be brilliant and my ph.d examiner (Ruth Page) and ph.d supervisor (Sue Thomas) will be speaking too along with "Inanimate Alice" author Kate Pullinger.



http://www.english.heacademy.ac.uk/explore/events/event_detail.php?event_index=281

Cost: No charge, but we reserve the right to charge a £15:00 non-attendance fee.

Last Date for registration: 14 Apr 10

Event Description:
Digital Writing crosses over Media, Creative Writing, Art & Design and English departments and demand for more higher education courses continues to grow. How are we meeting that demand and how is digital writing being taught? This free, one-day symposium is an opportunity to discuss, debate and sample Digital Writing with leading practitioners and university lecturers.

- How do we teach students to analyse digital writing?
- How do we teach students to create digital writing?
- What are the particular challenges and rewards of teaching and learning this developing genre?

These questions and others will inform the presentations and discussions.
The event takes place at the state-of-the-art Phoenix Square, in Leicester where delegates will have the opportunity to participate in a hands-on workshop and demonstration. Undergraduate and postgraduate students are welcome.

Confirmed speakers include: Award winning digital novelist – Kate Pullinger, Sue Thomas, Ruth Page and Tim Wright.
Programme: (subject to alteration) 

9:30 Registration
Coffee/Tea

10:00 Welcome
Brett Lucas, English Subject Centre

10:10 Presentation
The Transliteracy Research Group
Kate Pullinger & Sue Thomas, De Montfort University

11:00 Panel Presentation & Discussion
Doing Digital Writing
Tim Wright, Digital author
Donna Leishman, Digital author
Respondant TBC

12:00 Lunch

13:00 Panel Presentation & Discussion: Teaching Digital Writing
Digital Writing and Pedagogy: How do We Teach, What Do We Teach?
Matt Hayler, University of Exeter
Designing Narratives and New Media
Will Slocombe, Aberystwyth University
The Next Frontier? Teaching electronic literature in the undergraduate classroom
Ruth Page, Birmingham City University

14:30 Hands-on Workshop and Demonstration
Tim Wright, Digital author

15:30 Keynote Address
Michael Bhaskar, Digital publisher, Serpent’s Tail/Profile Books

16:30 Closing Remarks
Kate Pullinger & Brett Lucas

16:45 Close



Note: image from Engadget. 

[writing conference: england]

Writing Industries Conference 2010
Saturday 6th March 2010, Loughborough University
A Literature Network, Writing East Midlands
and Loughborough University project.
http://www.facebook.com/l/88d0e;writingindustries.com
Twitter #wic2010

WIC 2010 – APPLY NOW FOR AGENT AND EDITOR 1-2-1 MEETINGS

The Writing Industries Conference 2010 is now open to applications for 1-2-1 meetings with agents and editors. Writers will have the chance to present their work in fiction, creative non-fiction and spoken word. A limited number of 1-2-1s are available and only ticket holders to WIC 2010 may apply.
1-2-1 meetings are available with:

Lorella Belli, Lorella Belli Literary Agency http://www.facebook.com/l/88d0e;www.lorellabelliagency.com/
Ollie Munson, Blake Friedmann, Literary TV and Film Agency http://www.facebook.com/l/88d0e;www.blakefriedmann.co.uk/
Alan Mahar, Tindal Street Press http://www.facebook.com/l/88d0e;www.tindalstreet.co.uk/
Sarah Ellis, Apples and Snakes http://www.facebook.com/l/88d0e;www.applesandsnakes.org/
James Wills, Watson, Little Ltd http://www.facebook.com/l/88d0e;www.watsonlittle.com/
John Berlyne, Zeno Agency Ltd http://www.facebook.com/l/88d0e;www.zenoagency.com/
Jane Finigan, Lutyens & Rubinstein Literary Agency http://www.facebook.com/l/88d0e;www.lutyensrubinstein.co.uk
For guidelines and details on how to apply please see: http://www.facebook.com/l/88d0e;writingindustries.com/1-2-1-guidelines/

WIC 2010 will bring together writers from across the East Midlands and professionals from the writing industries to share knowledge, develop skills and forge new contacts. 200 writers from the region will have the opportunity to hear from and meet with professionals from the writing industries in a variety of settings:

• Agents and editors in one-to-one sessions with selected writers, giving advice and support in their area of expertise.

• Panel discussions exploring specific areas of writing, from breaking into commercial publishing to working in the community.

• Writing industries fair featuring stalls from local publishers, funders and other organisations involved with the writing industries.

• And of course there will be plenty of opportunity to meet and talk with other writers over a coffee.

Details of the full programme will be announced soon.

http://www.facebook.com/l/88d0e;writingindustries.com

I found this super article via Gerry McKiernan at Reference Notes. Have a read:

New York Times / August 19, 2009, 1:08 pm / Updated: 1:29 pm / Steve Lohr

A recent 93-page report on online education, conducted by SRI International for the Department of Education, has a starchy academic title, but a most intriguing conclusion:

“On average, students in online learning conditions performed better than those receiving face-to-face instruction.”

The report examined the comparative research on online versus traditional classroom teaching from 1996 to 2008. Some of it was in K-12 settings, but most of the comparative studies were done in colleges and adult continuing-education programs of various kinds, from medical training to the military.

Over the 12-year span, the report found 99 studies in which there were quantitative comparisons of online and classroom performance for the same courses. The analysis for the Department of Education found that, on average, students doing some or all of the course online would rank in the 59th percentile in tested performance, compared with the average classroom student scoring in the 50th percentile.

That is a modest but statistically meaningful difference.

“The study’s major significance lies in demonstrating that online learning today is not just better than nothing — it actually tends to be better than conventional instruction,” said Barbara Means, the study’s lead author and an educational psychologist at SRI International.

This hardly means that we’ll be saying good-bye to classrooms. But the report does suggest that online education could be set to expand sharply over the next few years, as evidence mounts of its value.

Until fairly recently, online education amounted to little more than electronic versions of the old-line correspondence courses. That has really changed with arrival of Web-based video, instant messaging and collaboration tools. The real promise of online education, experts say, is providing learning experiences that are more tailored to individual students than is possible in classrooms. That enables more “learning by doing,” which many students find more engaging and useful.

[snip]

“We are at an inflection point in online education,” said Philip R. Regier, the dean of Arizona State University’s Online and Extended Campus program. Mr. Regier sees things evolving fairly rapidly, accelerated by the increasing use of social networking technology. More and more, students will help and teach each other, he said. [snip]

“The technology will be used to create learning communities among students in new ways,” Mr. Regier said. “People are correct when they say online education will take things out the classroom. But they are wrong, I think, when they assume it will make learning an independent, personal activity. Learning has to occur in a community.”

Source

[http://bits.blogs.nytimes.com/2009/08/19/study-finds-that-online-education-beats-the-classroom/]

Full Text Available At

[http://www.ed.gov/rschstat/eval/tech/evidence-based-practices/finalreport.pdf]

[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

[Swiss Biennial on Science, Technics + Aesthetics]

The Large, the Small and the Human Mind
The 8th Swiss Biennial on Science, Technics + Aesthetics

Saturday, January 16, 2010, 12 – 7 p.m.
Sunday, January 17, 2010, 12 – 7 p.m.

Swiss Museum of Transport, Lucerne Early Register: http://www.neugalu.ch/e_bienn_2010.html#9

Roger Penrose’s hotly disputed book The Large, the Small and the Human Mind (1997) contributed to a new scientific world-view of physics and a more complete understanding of conscious minds at the boundary between the physics of the small and the physics of the large. In a similar vein, the Swiss Biennial 2010, The Large, the Small and the Human Mind, will trigger debate about the unequal status that we have attributed to the physical world “out there” and our many beliefs and mental conceptions “in us” about this world, and it explores the fingers of science, rationality, ontology, epistemology, reflexivity, ethics, ecology, and politics that point to the realities of our beliefs.

The New Gallery Lucerne organises this two-day conference which brings together a group of internationally renowned scientists, sociologists, philosophers, ecologists, writers, artists, and policy-makers. From the debate about the pursuit of a “Theory of Everything” (TOE) in physics, extreme objectivity, our relationship to the “Universe,” to “human,” “nature,” “human culture,” and the “human mind,” The Large, the Small and the Human Mind will touch on the world’s first climate war, the destructive side of globalization, and the contradictions of our striving for unlimited economic growth and consumption. “When the sage points at the Moon,” says the Chinese proverb, “the fool looks at his fingertip.” The Large, the Small and the Human Mind offers a critical look at the fingertip, and from it to the Moon. From the question of how to free Pandora’s Hope, to the meaning of Leonardo’s science for our time, and the significance of the Space Age for humanity, the Swiss Biennial will reflect on these topics from an interdisciplinary perspective with the aim to create a deeper and finer sense of possibility.

Confirmed Keynote Speakers
Michel Bitbol (physicist and philosopher of mind, Director of Research, Centre National de la Recherche Scientifique [CNRS], Paris)
Fritjof Capra (physicist and systems theorist, Berkeley)
John Horgan (science writer/author, Director of the Center for Science Writings [CSW], Stevens Institute of Technology, Hoboken, USA)
Kevin W. Kelley (artist, author, and entrepreneur, San Rafael / USA)
Bruno Latour (sociologist, Scientific Director and Professor at Sciences Po, Paris)
Pier Luigi Luisi (Professor Emeritus ETH Zurich, Professor at the Dipartimento di Biologia, Università degli Studi di Roma)
Robert Poole (historian, University of Cumbria, Lancaster / UK)
Harald Welzer (social psychologist, Director of the Center for Interdisciplinary Memory Research, Essen)
Margaret Wertheim (science writer, curator, cultural historian of physics, Director of the Institute for Figuring, Los Angeles)

Confirmed Presenter
David McConville (artist, Director of Noospheric Research, The Elumenati, Asheville / USA)

Confirmed Chairpersons
Christina Ljungberg (University of Zurich)
Josef Mitterer (University of Klagenfurt)
Isabelle Stengers (Free University of Brusells)

Confirmed Leader of the Panel Discussions
Peter Weibel (Chairman and CEO, Center for Art and Media [ZKM], Karlsruhe)

A New Gallery Lucerne conference in association with the Swiss Museum of Transport, the City of Lucerne, the Swiss Federal Office of Culture (BAK), and the Swiss National Science Foundation (SNSF).

Swiss Museum of Transport, Lucerne, Coronado Hall

CHF 90.00 (CHF 65.00 concessions) – Booking required http://www.neugalu.ch/e_bienn_2010.html#9

The Large, the Small and the Human Mind continues the Swiss Biennial’s aim to involve people from all faculties, schools of thought and walks of life in a critical dialogue concerned with science, technological innovation, art, and society which they have long sought themselves but for which there has been no point of contact to date. The Swiss Biennial sees its role as that of a touchstone for such dialogues. Its interdisciplinary activities and projects are concerned with new challenges posed by widely varying fields of knowledge and research. Find the Swiss Biennial on Science, Technics + Aesthetics on http://www.neugalu.ch

New Gallery Lucerne and The Swiss Biennial on Science, Technics + Aesthetics
P.O. Box 3501, 6002 Lucerne / Switzerland, Tel. +41 (0) 41 370 38 18
Image credit: Jacket photograph, Earth, from Apollo 4 (November 1967) © NASA.

[better business blogging: twitter tips]

I'm all for blogging and I think twitter is extremely useful (for some people). I've had some very helpful feedback thanks to tweets I've put out asking for feedback, recommendations, suggestions and advice.

However, my use of twitter is a little more organic; it fluctuates with my current research or projects rather than a long term strategic goal that you'd have if you are going to try to harness it (and other social media applications) for *purely* business use.

Suaad Sait over at The B2B Lead Blog has some tips garnered from Rich Karpinski's B-to-b followers flock to Twitter article.

Business Tips for Twitter Use:

1. In your Twitter bio, clearly spell out what business you are in, who is posting to the account and even what you hope to get out of it. That creates transparency and the underpinnings of trust.
2. Find people to follow. They’ll likely follow you back, broadening and enriching your conversation.
3. To start, sit back and watch conversations unfold. As your comfort level grows, be proactive by participating in and starting conversations related to your business.
4. Be generous: Offer more than you get back and always try to be responsive to peers and customers.

A caveat as Jon Miller notes, "Tweets don’t yet show up in Google search results, and links can’t influence your SEO rankings.”

[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

[literate cities]

Six key elements are analysed in this study to dechipher which city is the most literate (American cities only) in 2008. These include: newspaper circulation, number of bookstores, library resources, periodical publishing resources, educational attainment and Internet resources and are then compared to the population rate (but only in cities greater than 250,000).

Somewhat oddly, the study does NOT include "reading test scores or how often people read, but what kinds of literary resources are available and used."

"Cities that ranked higher for having more bookstores also have a higher proportion of people buying books online, the analysis found, and cities with newspapers that have high per-capita circulation rates also have more people reading newspapers online. Likewise, cities that ranked higher for having well-used libraries also have more booksellers."

The author of the study, Dr. John Miller, makes a very interesting observation:

"While it is too early in this study to draw conclusions, it is nevertheless striking that newspaper readership rates in the US’s global economic competitors are significantly higher than in the US. Since literacy is generally regarded as a barometer of a nation’s social, cultural, and economic health, perhaps these findings are cause for national concern."

According to the USA Today report, "Preliminary results of a related study examining international literacy paint a less optimistic outlook for the USA. It notes that in per-capita paid newspaper circulation, the USA ranks only 31st in the world, far behind other countries, including Aruba, Liechtenstein and Japan."

[webology and folksonomy]

The latest issue of webology is guest edited by Louise Spiteri at the School of Information Management at Dalhousie University, Canada. This entire issue is devoted to folksonomy. We all know that folksonomy was coined by Thomas Vander Wal: "Folksonomy is the result of personal free tagging of information and objects (anything with a URL) for one's own retrieval. The tagging is done in a social environment (usually shared and open to others). Folksonomy is created from the act of tagging by the person consuming the information." From the editorial: "The papers in this special issue reflect the diversity of approaches taken to create Web resources that reflect better the needs of end users. Particular emphasis is placed on the need to manage the increasing volumes of tags and information available on the Web, particularly as more people are becoming engaged with numerous social applications. As is discussed in some of the papers in this special edition, there is certainly scope to consider ways in which to combine the more traditional controlled vocabularies with the free-flowing nature of tagging." Bruce's report on the A Million Penguins wiki-novel fits in well with this issue of webology especially when read alongside Isabella Peters and Katrin Weller's article on wiki gardening as Bruce told us about "gardners" who tend the wiki novel, rather unlike vandels who go in to mess it up. However, Peters and Weller go a step further to suggest a way to weed out mess. They suggest introducing a tag garden that matches synonyms together. Any of you who have search on flickr or delicious (just two examples) will know that search for blog doesn't always turn up results that are tagged with blogger or blogging. But, more literate users realise this and begin to craft their own vocab. controls. I know I don't tag things with blogging or blogger anymore, I just use the term blog. "For our garden this means, that we have some plants that look alike, but are not the same (homonyms), some plants which can be found in different variations and are sometimes difficult to recognize as one species (synonyms) and others which are somehow related or should be combined. Thus, we have to apply some garden design or landscape architecture to turn our savage garden. We may use labels for the homonyms, and establish flower beds as well as paths between them and pointers or sign posts to show us the way along the synonyms, hierarchies and other semantic interrelations (see Figure 2). We need some additional structure and direct accessibility to provide additional forms of (semantic) navigation (besides tag clouds, most popular tags and combinations of tags-user-document co-occurences)."

Peters, Isabella & Weller, Katrin (2008). "Tag gardening for folksonomy enrichment and maintenance." Webology, 5(3), Article 58. Available at: http://www.webology.ir/2008/v5n3/a58.html.

[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

[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.

[long live the experimental novel]

Long live the experimental novel with what Suzi Feay declares in her report in Sunday's Independent. Strangely that's also when a rather one-sided view on digital literature appeared. Feay's report on "Who'll be the bestsellers of tomorrow?" makes some interesting predictions including more books on the subject of our failing environment and, wait for it...digital narratives. One example Feay turns to is Chris Meade's In Search of Lost Tim, a magical musical graphical digital fiction "which uses fictitious blogs (hosted at www.insearchoflosttim.net) and YouTube videos to tell the story of a blogger who is contacted by a boy who claims he lives in the 1960s and is communicating via his "Futurizer"). Young Tim is trying to contact his future self, the political activist and secret agent Lord Tim. It's a jeux d'esprit, but also, just possibly, the future of fiction."

nb: note the allusion to Proust's À la recherche du temps perdu or...In Search of Lost Time

A Synopsis: "On holiday Jennifer begins writing a personal blog to help her through a recent bereavement. Then she receives mysterious messages from a boy who claims to be communicating through time via his 'Futurizer'. Young Tim has lost contact with his future self, with whom he has been fighting crime across the centuries.

In their 21st Century comic book world, Lord Tim and his glamorous Sidekick are under attack from the evil Mister B.
Should Young Tim save his elder self by tackling Bailey the school bully, or his suspicious neighbour, Barry?
What are 'Futurolusions'? Why is Jennifer caught up in all this? And is Young Tim in peril as he emerges into the dangerous, grown up world?

Starring a glove puppet, cartoon characters and a blogger, featuring words, ukuleles, video, photos and drawings, this is a multimedia novella about what the future means to a group of people living in the past, the present and the pretend."

[new media and not so intelligent reporting]

The Independent on Sunday did a piece which included "quotes" from Professor Sue Thomas on reading and writing in digital climates. Besides misquoting Thomas (and OMG he says she's a lecturer!! Hello...I think he'll find it's Professor) and making fundamental generalisations the reporter (or observer as this write-up is imbued with numerous personal surmising) the article sees digital literacy as a highly straight-forward, black and white issue. Print books are good and "e-books" are bad. I'm slightly simplifying the argument, well nah, that's pretty much the gist of it. For the article writer, e-books and seemingly anything available online is there for entertainment and readers become "power browsers." While print fiction is "intelligent" and a collection of "classics" including "Don Quixote, Bleak House, Moby Dick, In Search of Lost Time." Umm... Most perplexing to me, is the comment that gone are the years when teenagers (yes! teenagers) "confidently approached" these books (specifically Quixote et al.). Speaking from a small and necessarily parametered experience, I've never know a teenager to approach these books with confidence...in fact, I wonder whether anyone does. These are books that instill questions rather than answers so I'm not sure really whether confidence is synonomous with the kind of literacy this reporter is striving for. In fact, why is it not "A la recherche du temps perdu" because serious readers would surely only read the book or, erm, text in its original language (the same for Don Quixote de la Mancha and my, isn't this a good example of self-conscious/self-reflexive language-play?).

Digital literacy and programmes devoted to instilling and encouraging this (still) nascent skill emerge alongside other forms (and teaching) of literacy, including print, visual and sonic. Thomas's course, just one example, focuses on narratives crafted in an online or digital environment. It's not about replacing Moby Dick or handing someone an e-reader and replacing the whole publishing business, but it is about learning more and reading more and, as Thomas says, connecting more.

[ELO - collection 2: call for work]

The Electronic Literature Organization seeks submissions for the Electronic Literature Collection, volume 2. We invite the submission of literary works that take advantage of the capabilities and contexts provided by the computer. Works will be accepted from June 1 to September 30, 2008. Up to three works per author will be considered; previously published works will be considered. The Electronic Literature Collection is a biannual publication of current and older electronic literature in a form suitable for individual, public library, and classroom use. Volume 1, presently available both online (http://collection.eliterature.org) and as a packaged, cross-platform CD-ROM, has been used in dozens of courses at universities in the United States and internationally, and has been widely reviewed in the United States and Europe. It is also available as a CD-ROM insert with N. Katherine Hayles' full-length study, Electronic Literature: New Horizons for the Literary (University of Notre Dame Press, 2008). Volume 2, comprising approximately 50 works, will likewise be available online, and as a cross-platform DVD in a case appropriate for library processing, marking, and distribution. The contents of the Collection are offered under a Creative Commons license so that libraries and educational institutions will be allowed to duplicate and install works and individuals will be free to share the disc with others. The editorial collective for the second volume of the Electronic Literature Collection, to be published in 2009, is Laura Borràs Castanyer, Talan Memmott, Rita Raley and Brian Kim Stefans. This collective will review the submitted work and select pieces for the Collection. Literary quality will be the chief criterion for selection of works. Other aspects considered will include innovative use of electronic techniques, quality and navigability of interface, and adequate representation of the diverse forms of electronic literature in the collection as a whole. For volume 2, we are considering works of electronic literature in video. Works submitted should function on both Macintosh OS X (10.5) and Windows Vista. Works should function without requiring users to purchase or install additional software. Submissions may require software that is typically pre-installed on contemporary computers, such as a web browser, and are allowed to use the current versions of the most common plugins. To have a work considered, all the authors of the work must agree that if their work is published in the Collection, they will license it under a Creative Commons Attribution-NonCommercial-

NoDerivs 3.0 License, which will permit others to copy and freely redistribute the work, provided the work is attributed to its authors, that it is redistributed non-commercially, and that it is not used in the creation of derivative works. No other limitation is made regarding the author's use of any work submitted or accepted. To submit a work, prepare a plain text file with the following information: * The title of the work. * The names and email addresses of all authors and contributors of the work. * The URL where you are going to make your .zip file available for us to download. The editorial collective will not publish the address of this file. * A short description of the work — less than 200 words in length. * Any instructions required to operate the work. * The date the work was first distributed or published, or "unpublished" if it has not yet been made available to the public. Prepare a .zip archive including the work in its entirety. Include the text file at the top level of this archive, and name it "submisson.txt". Upload the .zip file to a web server so that it is available at the specified location. Place all of the text in the "submisson.txt" file in the body of an email and send it to elc2.elo@gmail.com with the name of the piece being submitted included in the subject line. The Electronic Literature Collection is supported by institutional partners including: Brown University, Literary Arts Program; Center for Program in Contemporary Writing at the University of Pennsylvania; Duke University, Program in Literature; Hermeneia at the Open University of Catalonia; Maryland Institute for Technology in the Humanities; Massachusetts Institute of Technology, Program in Writing and Humanistic Studies; nt2; Pomona College, Media Studies Program;UCSB, Department of English; University of Bergen, Department of Literary, Linguistic, and Aesthetic Studies, Program in Digital Culture; University of Dundee, School of Humanities. Institutional sponsorship opportunities are still available. If your organization or academic department is interested in more information, please contact Helen DeVinney, Managing Director of the ELO, at hdevinney@gmail.com.

[transliteracy, m-learning & africa]

The title is quite a mouthful but still doesn't really get at the enormous potential that Alex Smith's manifesto for African Mobile Literacy suggests. Alex has had the brilliant idea to translate stories into African languages and make them available in formats available for dissemination via mobile (seems to tie in well to the PART group's research into transliteracy). The idea has come about due to the lack of access African young people have to read/hear stories in their home languages. An appalling idea if I imagine not having stories available in English or Italian. So, Alex has created a manifesto and is asking for help. Are there designers translators (perhaps Anietie Isong) and educators (I'm def. going to help out as best I can and draw on my Inanimate Alice Education Pack experience) out there who would like to be involved. If so, comment on Alex's blog post.

Thanks to Karina for the head's up.

More on mobile learning here from Leonard Low.

[job opportunity - lecturer in creative writing]

An interesting position at University of Hull:

"Lecturer in Creative Writing, Department of English

A vacancy has arisen for a Lecturer to join the Creative Writing team in this RAE 5-rated department. You will be a prose writer with publications in fiction or non-fiction. Experience in teaching twentieth-century or contemporary literary topics at undergraduate level will be a distinct advantage. You will be expected to sustain and develop our existing undergraduate Creative Writing modules, participate in the Creative Writing MA, and assist in developing the activities of the University's Philip Larkin Centre for Poetry and Creative Writing. Depending on the particular qualifications of the successful applicant, the post will also involve teaching on mainline literary modules in the English Department. A job-share arrangement might be contemplated, so joint applications or single applications for 0.5 of the post will be considered.

Salary range £29138 - £33780 pa.

For more information and to apply please visit www.hull.ac.uk/jobs, phone: (01482) 465272 (quoting vacancy ref: FA343), or for candidates with a hearing/speech impairment textphone: (01482) 466851. Alternative formats available on request.

Closing date: 1 August 2008"

[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.

[colouring significance/mapping meanings]

Gerry McKiernan has an interesting idea (sounds a bit like what Alan Liu suggested vis-a-vis wikipedia authority when he gave a talk at the IOCT last July). This kind of chromatographic writing happens in some southern Nigerian groups like the "Benin and Edo people." (See Cornell's online library for more info.) McKiernan's suggestion has some serious implications for tracking the publication of scholarly materials. Is there a kind of googlereader out there that reads for colour?

"I Propose That All Give Serious Consideration To Writing-In-Color(s) , With Each Color Representing A Respective Level of Significance Within A Text.

The Visible Spectrum Would Be The Basis For The Relative Levels Of Significance Of Given Text WHERE

Text of Least Importance Would Be Highlighted In RED;
Text of Intermediate Importance Highlighted In GREEN;
Text of Greatest Importance Highlighted in VIOLET, and
Text of In-Between Importance Highlighted in Appropriate Colors: ORANGE, BLUE, INDIGO
Initially, TEXT would be COLORED at the PARAGRAPH LEVEL By The Author(s).

Adjoining OR Disjunct Sections of Text Could Have The SAME COLOR.

Upon Publication, The Reader Would Have The Ability To ReCOLOR The TEXT ToReflect His/Her View On The Relative Significant Of Text In His/Her Opinion And/Or Relative To A Particular Purpose.

I also envision a feature by which The Reader would be able to colorlight individual terms and/or phrases.

Readers would also have the ability to assess the value of The Overall TEXT by LABELING THE TEXT with One Color (Color Digg).

The Higher The Color, The More Significant The Text."

NB - what if a reader is colour blind?