Then you are into the whole electronic literature field - which is a big field. Start with the ELO or ELMCIP to begin exploring that...
best
Simon
On 23 Oct 2013, at 14:21, Charlotte Frost <[log in to unmask]> wrote:
> Indeed!
>
> And we haven't really talked about dynamic book/writing projects but some
> others would include:
>
> Remix the Book: www.remixthebook.com
>
> Art History Flash Book: http://arthistoryflashbook.blogspot.co.uk/
>
> Scalar: http://scalar.usc.edu/
>
> Gamer Theory: http://futureofthebook.org/gamertheory2.0/
>
> Vectors: http://vectors.usc.edu/issues/index.php?issue=6
>
> Learning from YouTube: https://mitpress.mit.edu/books/learning-youtube-0
>
> Booksprints: http://www.booksprints.net/
>
> inmediares: http://mediacommons.futureofthebook.org/imr/
>
> Liquid books: http://openhumanitiespress.org/liquid-books.html
>
> Open Humanities Press: http://openhumanitiespress.org/index.html
>
> AndŠ.
>
>
>
> On 17/10/2013 21:36, "helen varley jamieson" <[log in to unmask]>
> wrote:
>
>> this reminded me of turbulence's networked book on networked art
>> (http://networkedbook.org/) - has this already been mentioned? (i'm not
>> able to keep up with all the postings - TL;DR ;))
>>
>> h : )
>>
>> On 17/10/13 12:27 AM, Charlotte Frost wrote:
>>> From: James Elkins
>>> Date: Thursday, 17 October 2013 00:54
>>> To: Charlotte Frost <[log in to unmask]>
>>> Subject: Re: October's theme: Art History Online, an introduction
>>>
>>> Charlotte,
>>>
>>> My pleasure.
>>>
>>> Hi everyone. I'm glad to report on my efforts to write art history
>>> online. I
>>> started this in an informal way a couple of years ago -- I used to post
>>> questions to Facebook, collect the answers, and thank people in the
>>> text. I
>>> did that with this book:
>>>
>>> http://www.amazon.com/Art-Critiques-Guide-Second-Edition/dp/098602161X
>>>
>>> It's full of footnotes thanking people on Facebook. (A third edition is
>>> in
>>> preparation, so if anyone has stories or ideas about critiques that
>>> aren't
>>> in the book, please send them to me!)
>>>
>>> But I really started writing art history online earlier in 2013. I have
>>> two
>>> book projects that are currently being written live. I'll summarize
>>> them and
>>> then say something about how it's going.
>>>
>>> 1. "North Atlantic Art History and Worldwide Art" is being written on
>>> Google
>>> Drive. Most Drive pages are embedded, live, in my website
>>>
>>>
>>> http://www.jameselkins.com/index.php/experimental-writing/251-north-atlan
>>> tic
>>> -art-history
>>>
>>> and I continuously post new additions to Facebook. Here for example is a
>>> post on the worldwide spread of art criticism, one of the topics in the
>>> book:
>>>
>>> https://www.facebook.com/james.elkins1/posts/10201173872961275
>>>
>>> 2. "Writing with Images" is a book on experimental writing in art
>>> history,
>>> theory, and criticism, and more generally all writing that uses images,
>>> including fiction. It is being written on two blogs, and they are both
>>> linked to my own website:
>>>
>>>
>>> http://www.jameselkins.com/index.php/experimental-writing/256-writing-wit
>>> h-i
>>> mages
>>>
>>> Here is one of the two:
>>>
>>> http://305737.blogspot.com/
>>>
>>> And here is a typical Facebook post that started a big discussion. The
>>> topic
>>> was why Derrida, Foucault, and others don't count as art history:
>>>
>>> https://www.facebook.com/james.elkins1/posts/10201243699906905
>>>
>>> I have plans to write one other book live, in addition to the "Art
>>> Critiques" book. Everything I write is posted to Facebook, Twitter,
>>> LinkedIn, and most are also posted on my Academia.edu site:
>>>
>>> http://saic.academia.edu/JElkins
>>>
>>> The idea of writing online, for me, is to acknowledge the fact that
>>> these
>>> subjects are open-ended, and that there is no single authority. I also
>>> like
>>> the idea of exposing unfinished things to immediate critique: it avoids
>>> the
>>> appearance of the polished text -- sometimes I don't even wait for
>>> "rough
>>> drafts," but write live online, so people might see the text at any
>>> stage.
>>>
>>> Most of the discussions and suggestions happen on Facebook. I find
>>> LinkedIn
>>> completely moribund and uninteresting. I also use Scribd and
>>> Researchgate,
>>> and I find no real community on either site. Academia is a very active
>>> site
>>> for me (lots of visitors and downloads) but no community. Twitter just
>>> hasn't developed much use for me simply because comments are so short.
>>> There
>>> is such a thing as a complex idea!
>>>
>>> Facebook works fine. There is a fair amount of TL;DR ("too long; didn't
>>> read") -- that is, people make comments based on the lines introducing
>>> the
>>> post, without having read the text. But even that can be useful. If I
>>> summarize a chapter in a sentence or two in order to post it on
>>> Facebook,
>>> then I am in effect sending the same message a reader gets when she
>>> thumbs
>>> through a book before she buys it. The title and abstract do count, so
>>> even
>>> off-topic comments based on the title and abstract can be useful.
>>>
>>> When I get specific comments, criticism, suggestions, etc., I
>>> incorporate
>>> them immediately into the text and thank the people who posted. So my
>>> books
>>> will have lots of passages like this:
>>>
>>> "Reading an early version of this chapter, Colleen Anderson remarked
>>> that
>>> this subject connects to Cixous's works on.." etc.
>>>
>>> All those references will make for an unusual reading experience, but I
>>> think it will feel, and be, more participatory.
>>>
>>> I don't think this crowd sourcing would make sense for all of art
>>> history,
>>> theory, or criticism. These subjects I'm working on have two
>>> characteristics
>>> that make them especially well suited. (1) These books are about very
>>> undecided, contentious subjects, where even fundamental terms are
>>> undecided;
>>> and (2) they are about general topics, not specialized ones.
>>>
>>> Regarding the supposed wildness of the internet: I had a "fan" page,
>>> with
>>> 16,000 "fans," but most were inactive. I shut it down, and my current
>>> page
>>> is a personal page, limited to 5,000. Of those, about 300 are active,
>>> and
>>> only about 20 or 30 are spammers (I shut them down whenever I see them).
>>> Less than 10, I think, are crazy in an unproductive sense: that is,
>>> there
>>> are many people whose opinions are wild in relation to academia, or in
>>> relation to the art market, or in relation to modernism or
>>> postmodernism --
>>> but less than 10 or so who are non-social, solipsistic, fanatical,
>>> fundamentalist, or otherwise unproductive.
>>>
>>> On the other hand there may be 100 or more who are art historians, and
>>> "lurk" on the site. I hear about them in different places, and in
>>> different
>>> ways; some are friends. But they have strong disciplinary allegiances,
>>> and
>>> they don't like to post, or be "seen," on unserious sites like Facebook.
>>> Those users, I have to say, do bother me, because they are timid.
>>>
>>> Hope this helps; feel free as always to write me, here or elsewhere; and
>>> please do have a look at the many posts and see if there's anything
>>> you'd
>>> like to add. So far, everything I'm doing online is intended for
>>> eventual
>>> print publication: the reason is simply that it yields a different
>>> distribution, different readers. It isn't better or worse, or the past
>>> or
>>> the future: it's just another medium.
>>>
>>> Best,
>>>
>>> Jim
>>>
>>>
>>>
>>
>>
>> --
>> helen varley jamieson
>> [log in to unmask] <mailto:[log in to unmask]>
>> http://www.creative-catalyst.com
>> http://www.wehaveasituation.net
>> http://www.upstage.org.nz
>
Simon Biggs
[log in to unmask]
http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs
[log in to unmask] Edinburgh College of Art, University of Edinburgh
http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php
http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html
http://www.eca.ac.uk/circle/ http://www.elmcip.net/ http://www.movingtargets.org.uk/ http://designinaction.com/
MSc by Research in Interdisciplinary Creative Practices http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php
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