Creative Writing & New Media Archive

Great news: the archive has been recognised as one of the best websites in its field for study and research!

Transliteracy Research Group

For a good proportion of this year I’ve been working with Kate Pullinger and Sue Thomas on building a new resource, an archive of all the Guest Lectures given during the four years of the online MA in Creative Writing and New Media at De Montfort University:  www.creativewritingandnewmedia.com.  And now the archive has been selected for inclusion by Intute, the primary UK web resource for academic researchers. See the entry here.

The archive contains lectures from theorists and practitioners as varied as Christy Dena, Rita Raley, Alan Sondheim, Caitlin Fisher, and John Cayley… oh, and me too.  This resource, which is under the aegis of the Transliteracy Research Group, will be of value to practitioners, students and academics with an interest in transliteracy, digital fiction, digital art, e-poetry, and cross-media.  Please feel free to use this archive and discuss it at our Transliteracy Notes Ning community.

Online lecture about Fitting The Pattern

Dress_PatternEarlier this year I gave a lecture for the Online MA in Creative Writing and New Media at De Montfort University (DMU) about:

Being Creatively Autobiographical in New Media

My lecture takes the form of a micro-site that explores the creative process of writing, designing and building my interactive memoir, Fitting the Pattern: or being a dressmaker’s daughter, in Flash.

I offer the lecture here as a kind of sneak preview of the forthcoming Creative Writing and New Media Archive of Online Guest Lectures, which is a project of the new Transliteracy Research Group based at DMU. But more on that later.

This movie requires Flash Player 8

In the meantime, I was thrilled to learn recently that Rita Raley, Associate Professor in the Department of English at the University of California Santa Barbara, is teaching Fitting the Pattern in her course on Electronic Literature in the section on Cybertext: interactivity & playable texts. It’s quite an honour to be included amongst “some of the most technically and intellectually compelling works on the web”, to quote the Course Overview. I’d love to hear what the students make of it.

Indeed, I’d love to hear any feedback about my creative work so please feel free to email me (crissxross at crissxross dot net) or leave a comment.

Underbelly and Writing Bodies

Conference of the Postgraduate Contemporary Women's Writing Network, 11-12 Sept 2009, at University of Oxford

Conference of the Postgraduate Contemporary Women's Writing Network, 11-12 Sept 2009, at University of Oxford

A couple of days ago I presented, Underbelly, my most recent work of digital fiction (an almost finished work-in-progress) at the Writing Bodies/Reading Bodies conference in Oxford. Underbelly is about a woman sculptor carving a figure on the site of a former Yorkshire colliery now landscaped into a country park, but it also includes stories of the women miners who used to work underground in the 19th Century. As I said in my introduction, there’s a long association of the female body with the land, e.g. Mother Earth, but it’s perhaps little known that women used to work underground, hauling coal like beasts of burden. This history is largely forgotten, almost erased apart from a few websites (see below), and now the colliery sites themselves have been erased from the landscape too.

National Coal Board Collection: Portrait of a Miner 2 disc set from BFI

National Coal Board Collection: Portrait of a Miner 2 disc set from BFI

So it’s with great interest that, on my return from the Writing Bodies conference, I read in the Guardian that the British Film Institute is launching a ‘major restrospective of its extraordinary archive of mining films.’ In his article, Pitmen at the pictures, playwright Lee Hall makes a similar point about the effacement of our working class history:

As soon as the pits started closing all evidence of their existence was erased. I remember driving around the Durham coalfield trying to find locations for the movie of Billy Elliot, desperate to get a glimpse of an archetypal winding gear, and shocked to find they’d all been knocked down. Similarly the industry seems to have been Photoshopped out of the national imagination as if the working classes didn’t exist any more – as if all that labour history was an embarrassment to the consensus of all the major parties, who now see us as consumers rather than producers.

Thankfully Photoshop is just as good for montage as it is for airbrushing out and I have used it for Underbelly to put women miners back into the picture in an interactive collage of imagery and voices from my imagination and historical sources. I’ll be publishing the piece, created in Flash, on crissxross.net fairly soon.

For more about the history of pitwomen see A Web of English History: The Peel Web or A Modern History Sourcebook: Women Miners in the English Coal Pits or Women in World History Curriculum: The Coal Mines, Industrial Revolution

remixworx in overview of E-Poetry 2009

ePoetry Barcelona 09Thanks to Chris Funkhouser, digital poet and researcher, for this fantastic, all-embracing report of E-Poetry 2009, the international festival and symposium of digital poetry that took place in Barcelona in May:

Encapsulating E-Poetry 2009: Some views on contemporary digital poetry

This was the first time I’d attended this biennial festival where I presented a selection of remixes from R3/\/\1X\/\/0RX. Here’s what Funkhouser had to say about it in the section on the May 26 Panel of works:

Wilks (whose comments on the presentation—as well as links to several works she showed—are posted at http://crissxross.net/wilx/2009/06/07/remixing-at-epoetry-barcelona-2009/) showed a series of works that have been presented on a collaborative blog titled remixworx. Members of the group have done roughly 500 multimedia remixes since 2006 (Wilks usually uses Flash). She presented “trails” of posts to the site—which is set up as a blog and artistic responses are posted in comment fields—that reflected how the works evolved, and also read a couple of text pieces from the site. Beyond the high quality of the works presented, the collaborative axis of remixworx is more than respectable, and the sheer variety of types of works (stylistically/aesthetically)—kinetic visual poems often combining text/animation/sound—appearing on the site is marvelous.