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Electronic Creative Writing

The Evolution of Transmedia Fiction

The next speaker in this AoIR 2015 session is Linda Kronman, whose interest is in transmedia storytelling. She organised the Re:Dakar Art Festival, which emerged from a scam invitation to an "art festival" in Dakar – Linda and colleagues created fake characters who corresponded to the fake characters created by the scammers, and the interaction between them became a form of transmedia storytelling in its own right. Linda and colleagues created fake Facebook pages for their characters, as well as artworks which incorporated the material created by the interactions.

Transmedia storytelling itself emerged over the past decade or two, driven especially also by a number of major movies and other events; but the definitions of such approaches are still varying widely. Some of it links back to hypertext storytelling and digital fiction research from one perspective, hypertext fiction evolved into hypermedia fiction, cybertext fiction, and finally social media fiction. Recent social media fiction projects include The Big Plot and Grace, Wit & Charm, for example.

Social Interaction in Mobile Media and Board Games

The second session on this last day of PerthDAC starts with a paper by Larissa Hjorth, who examines camera phone practices in Seoul and Melbourne (the paper is presented by Christy Dena, though). Mobile media is positioned here as a prosumer machine through which we experience media and art in everyday life; mobile phones have become an integral part of everyday life- no longer a symbol of business or a class status symbol, they are now part of almost all social practices, and their uses have grown well beyond voice telephony and SMSing. Mobile phones remain connected to locality in a process of mobility and mobilism; they inform and locate co-present communication. Forms of mobile media are ongoing personal ethnographies, and are frequently banal and implicated in the politics of banality, which requires further analysis.

Difference and Discontinuity in Hypertext

Ross Priory, Scotland (and we're just being told that the place is cursed, apparently...).
The next presentation here at ICE 3 is by Colleen McKenna and Claire McAvinia, who present thoughts on work they've done in getting students to create hypertext assignments. To what extent does some work challenge traditional essay writing, and does it make more visible the features of conventional linear argumentation? Does this work liberate the thinking of these student writers?

There's already a good deal of interest in exploring hypertext writing for non-academic text (fiction, poetry, reflective writing, etc.); however, less has been written about presenting academic non-fiction writing in a hypertext format and assessing student writing of this form. Hypertext might offer a different type of meaning-making which privileges exploration over conclusion, as David Kolb suggests. Such writing claims a factual territory rather than pointing to any one source of truth. Gunther Kress similarly distinguishes between the temporal logic of traditional academic argument and the spatial logic of the image, which predominates in screen-based hypertextual media.

Creative Work

Creative Writing

Axel Bruns. "The Redundant Spy." A Most Provoking Thing. Eds. Stuart Glover et al. Brisbane: QUT, 2004. Nonfiction piece.

Hamish Sewell with Axel Bruns. "Tracing Silence." dotlit 3.2 (2002). Commissioned hypertext.

Axel Bruns. "The Two Franks." dotlit 3.2 (2002). Prose fiction piece.

Partial Histories

We're back for the second day of ISEA2004 at Lume. Unfortunately I got here a little late (some good discussions on the tram and after with people from Sarai), so I think I might have missed a speaker or two of this session called "Uncovering Histories of Electronic Writing".

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