According to Harris, “digital, electronic, and hypertextual archives have come to represent online and virtual environments” (Katherine Harris, JHGDM 16);
Archiving is “guided by principles of preserving history” (Katherine Harris, JHGDM 16).
Increasingly our possessions and our communications are no longer material, they’re digital and they are dependent on technology to make them accessible. As new technology emerges and current technology becomes obsolete, we need to actively manage our digital possessions to help protect them and keep them available for years to come.
nov·el /ˈnävəl/ noun
1. a fictitious prose narrative of book length, typically representing character and action with some degree of realism.
2. new or unusual in an interesting way.
Poet Ezra Pound once wrote, “The artist is always beginning. Any work of art which is not a beginning, an invention, or a discovery is of little worth.” The very word “novel” implies innovation; in fact, the first printed novels were thus named for their specific cutting-edge contemporary style of writing. The novel itself (which was different from the other books available at the time of their invention, which included but were limited to *mostly* Bibles, ancient plays or works of poetry, or books of science or history) has gone through many iterations over the years, evolving from Gothic romance stories of the 19th century to modern series’ and now experimental novels.
This work Pry, though it is digital literature, can be considered [a] “novel” by some, in the way that it is taking the tradition of storytelling via literature and “making it new” (“novel” here meaning new, as well as a book) .
Salvador Plascencia’s debut novel The People of Paper raises questions regarding authorship and voice in a work. Blurring the lines between author and speaker, the work leaves readers questioning who is really getting to tell the story.
In a world where the victors of war (colonizers, or Saturn) dictate written history, The People of Paper offers a novel wherein the colonized (members of E.M.F.) have the opportunity to dictate their own point of view. This novel forces readers to question the authenticity of what they are reading; how much of the story has been fabricated, misrepresented, or mistold? This novel requires readers to glean their own understanding of truth by sifting through various sides of the same story. Continue reading
The student committee for Digital Humanities held an event addressing the idea of “What is Digital Humanities?: A Conversation” in Love Library last Thursday. The student branch is a network of DH scholars, researchers, teachers, and students at SDSU and in the region that seeks to study digital technologies, employ conceptual practices in research, and reflect upon the impact of the digital. Dr. Pam Lach, Dr. Adam Hammond and Dr. Nathan Rodriguez comprised a panel of experts on Digital Humanities here at SDSU and their presentations shed some light on the growing field of Digital Humanities. This was the first in a series of events the Digital Humanities Collaborative (DHC) plans to hold over the course of this school year.
pg. 41: http://www.bounceapp.com/208967
For me, Danielewski’s work exemplifies the idea of multi-vocality and demonstrates it for readers in a variety of ways. I am most intrigued with the idea that we are “all standing on the shoulders of giants”; in other words, the idea that we reference authors of the past by reworking their texts or by embedding ancient characters and plots into modern contexts.
Many of the ideas in the book can be considered as echos of past authors. Myths are retold, ancient languages are translated, and authors are constantly referenced and cross referenced throughout the manuscript and footnotes. There is blatant evidence of Danielewski’s sources and inspirations, and it is clear that he leans heavily on works of the past. Continue reading