Electronic Literature, pp. 131-145, 155-157
\nDoes anyone know what the author is trying to articulate here? On the first page of the reading, \u201cThis chapter elucidates further a framework in which digital literature can be understood as creating recursive feedback loops among embodied practice, tacit knowledge and explicit articulation.\u201d A good point is mentioned on page 132\u2014when you think about it, nearly all of human communication at least in modern societies is translated into a digital form, with the exception of face-to-face talk. On 135-136, it appears the recursive feedback loop in electronic literature is human to computer and computer to human interaction with the text that is displayed on the screen. The author\u2019s two main points are given on p136, \u201cverbal narratives are simultaneously conveyed and disrupted by code\u201d and the second, \u201cdistributed cognition implies distributed agency.\u201d Tachistoscope, from the reading is based on an experiment from the early 20th century; it tries to flash many images at once at the user and not being able to acquire meaning in each image\u2014 it is suggested that we still receive subliminal messages through such a process. The key aspect from the reading about Sundays in the Park (p145), it \u201cbrings to conscious attention the link between vocalization and linguistic richness.\u201d On page 156, Stefan\u2019s randomizing algorithm is noted for picking apart pieces of texts and creating a poem\u2014unless the algorithm was designed to create that, a poem\u2014wouldn\u2019t human intervention still be required to see if the poem made sense to a human as artificial intelligence (AI) is not advanced enough yet to do this for us?<\/p>\n
William Poundstone, Project for Tachistoscope (also on E-Lit CD)
\nThe sprites around the middle-Start button-area are nice to help explain the concepts behind the work itself. While subliminally, I may be exposed to the items I cannot comprehend\u2014 between the music, changing colors of the expanding and contracting circle and later imagery makes the work a bit difficult to understand. However, in the reading it does note the analogy between certain images and what they are supposed to represent, so that was helpful somewhat when looking into this work. I thought the statistic in the Subliminal Con was interesting in that \u201cDrink Coca-Cola\u201d increased 18.1% and a similar ad for popcorn increased sales by 57.5%– this is interesting because in the presidential election four years ago when it flashed \u201cDemocrats\u201d as \u201cRats\u201d on the screen, that backfired on the republican base. Perhaps these ads work best when one cannot pause and watch the medium frame-by-frame?<\/p>\n
Millie Niss and Martha Deed, Oulipoems (also on E-Lit CD)
\nIn the beginning, it states that \u201coulipo\u201d is created by a combination of math and poetry generated by rules or constraints. Is that the audio is supposed to represent\u2014in the entry page? I appreciate the existence of an introduction in this piece as the explanations for subliminal messages in the last; it offers insight into how it works and what one should expect when interacting with a particular work. Overall the structure and outline of this work reminded me of The Bomar Gene in that there are separate doors one can walk through and in each door or selection, one is presented with a different work. Whether it is a game, matching or putting a paragraph together, it seemed highly reminiscent of The Bomar Gene. Just like the Bomar Gene, sometimes its best to turn the audio off to better-understand the work at hand.<\/p>\n","protected":false},"excerpt":{"rendered":"
Electronic Literature, pp. 131-145, 155-157 Does anyone know what the author is trying to articulate here? On the first page of the reading, \u201cThis chapter elucidates further a framework in which digital literature can be understood as creating recursive feedback loops among embodied practice, tacit knowledge and explicit articulation.\u201d A good point is mentioned on … Continue reading Electronic Literature, Project Tachistoscope and Oulipoems<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-675","post","type-post","status-publish","format-standard","hentry","category-reflections"],"_links":{"self":[{"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/posts\/675","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/comments?post=675"}],"version-history":[{"count":1,"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/posts\/675\/revisions"}],"predecessor-version":[{"id":676,"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/posts\/675\/revisions\/676"}],"wp:attachment":[{"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/media?parent=675"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/categories?post=675"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.samplereality.com\/gmu\/fall2008\/343\/wp-json\/wp\/v2\/tags?post=675"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}