HSLU FED Network Narrative

Eine neue Hörspielfassung von Franz Kafkas "Der Process" macht jedem möglich, den Roman-Kapiteln eine eigene Reihenfolge zu geben. Welches die richtige ist, weiß nämlich niemand.

Russell's disappointment in LinkedIn implies that the term 'social networking' makes little sense if we leave out the objects that mediate the ties between people. Think about the object as the reason why people affiliate with each specific other and not just anyone. For instance, if the object is a job, it will connect me to one set of people whereas a date will link me to a radically different group. This is common sense but unfortunately it's not included in the image of the network diagram that most people imagine when they hear the term 'social network.' The fallacy is to think that social networks are just made up of people.

Wer schickte besonders viele Berichte nach Washington? Wer die meisten geheimen? SPIEGEL ONLINE zeigt in einer interaktiven Weltkarte, wie die US-Diplomaten in den vergangenen Jahren über ihr System kommunizierten - im Zeitraffer zum Abspielen

PrimaryAccess is a suite of free online tools that allows students and teachers to use primary source documents to complete meaningful and compelling learning activities with digital movies, storyboards, rebus stories and other online tools.

for some reason, you cannot escape people taking their clothes off at the slightest opportunity in second life, I had already encountered another guy showing us his bits earlier in the day (second one in two days, not including the weirdo a couple of days ago) and while we were chatting last night a girl hovered in front of us expressing her embarrassment at having no clothes, after staying there for at least 15 minutes without blinking an eyelid (as we are all born with clothes in second life and have to go out of your way to take them off, it always amuses me to hear the 'can't find any clothes stories'.

Kathy Hansen's Blog to explore traditional and postmodern forms/uses of storytelling.

As we journey on what Dante called "our life's way", we are all creating private maps and organising experiences and memories along highly personal geographies. In return, maps invite travel, they inspire journeys. Each place-name is a prompt for a story. We each project our inner-self into this fictional territory of possibilities. Each crossroad offers a multitude of departure points for the unknown, for the unseen, for the untold desires. The map of Inward destinations summons the spectator to accommodate and project their own experiences onto it, and conform it to their reality.

Sammlung klassischer Texte zur sozialen Netzwerkanalyse

'Flight Paths' seeks to explore what happens when lives collide - an airplane stowaway and the fictional suburban London housewife, quoted above. This project will tell their stories. 45 Through the fiction of these two lives, and the cross-connections and contradictions they represent, a larger story about the way we live today will emerge. The collision between the unknown young man, who will be both memorialised and brought back to life by the piece, and the London woman will provide the focus and force for a piece that will explore asylum, immigration, consumer culture, Islam and the West, as well as the seemingly mundane modern day reality of the supermarket car park itself. This young man's death/plummet will become a flight, a testament to both his extreme bravery and the tragic symbolism of his chosen route to the West. The initial goal of this project is to create a work of digital fiction, a 'networked book', created on and through the internet.

In the 21st Century, readers will turn on and interact with literature that is displayed on affordable, book-sized computers. Electronic fiction forms will include "narrabases" (nonsequential novels that rely on large computer databases); "narrative data structures" that elegantly organize fictional information on eye-pleasing computer screens; complex narrative investigations based on the adventure story model developed in computer games; and stories told collaboratively by groups of writers in online communities. Computers may even store their own observations and use them to tell their own stories in their own words.

INVOLVING THE AUDIENCE - STRATEGIES AND MODES OF INTERACTIVE DRAMATURGY In the rapidly changing Internet environment, which has evolved in the past decade from small text-based experimental community to commercially driven graphic interfaced media, writers of electronic literature must adapt not only to the intertwined processes of writing and interface (how the writer shapes the user's communication with the work) but also to radical changes in the audience and environment.

Imagine the stories we would tell, if we could construct video movies as easily and playfully as we now use spoken language. The Story Networks group explores storymaking principles and technologies that enhance cinematic story creation and sharing as activities of intelligent play and seeks to discover the empowering and framing constraints of designing these experiences for digital delivery over emerging networks in contemporary social contexts. Research complements, informs and is informed by research on Media Fabrics at the Interactive Cinema group at the MIT Media Lab.

Over the weekend I took a trip through Facebook to look at the various Facebook profile photos that my friends and their friends had posted. The profile photo is probably the single most important component for personal expression. That's why studying our profile photos will often reveal what is most important to us

Make your own "Obamicon" - your image in a style inspired by Shepard Fairey's iconic poster. Regardless of your candidate of choice in the 2008 election, here's your chance to sound-off.

What I'm onto here is writing and researching and thinking about hypertext fiction. For those of you familiar with it already, enough said--you may want to go back to the Contents. For those of you unfamiliar with it, hypertext fiction (aka hyperfiction, interactive fiction, nonlinear fiction) is a new art form that while not necessarily made possible by the computer was certainly made feasible by it. Its creators make use of hypertext--of which the Web is only one widespread albeit limited incarnation--to create fiction with many features uncharacteristic of print fiction: multiple paths through the same text; multiple endings (and beginnings); questions posed to the reader which, once answered, influence what the reader will read; audiovisual attachments; navigable maps; and so on and so on. Readers seeking more extensive definitions of hypertext fiction are invited to browse through the Theory and Criticism section or, better yet, simply start reading a few works--artists always outstrip their would-be definers.

Hamlet told in the form of a Facebook Newsffed

This post offers a companion to your course in social software and multimedia literacy. See it as that set of short stories or classic essays in the back of the writing text book.

With hundreds of works of computer mediated fiction or poetry available either on disk, largely through the Eastgate Systems catalog, or on the net, hypernarrative, its definition as open-ended as the many-faceted reading experience it engenders, is a primary way of storytelling in the era of the World Wide Web.