Digital Narratives - Revision history

Wtrettien at 16:04, 31 October 2013

2013-10-31T16:04:40Z

Wtrettien at 15:41, 26 August 2013

2013-08-26T15:41:47Z

← Older revision		Revision as of 15:41, 26 August 2013
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	This course will be run as a workshop. While there will be a significant amount of reading (or playing, or watching, or listening) each week, emphasis will be on 1) learning some basic skills necessary to work within new media genres and 2) playfully, creatively experimenting with these skills. You’ll leave this course with a deeper understanding of the architecture of new media, including the World Wide Web and audiovisual forms like digital film and video games, as well as with a suite of basic technical literacies applicable across all disciplines.		This course will be run as a workshop. While there will be a significant amount of reading (or playing, or watching, or listening) each week, emphasis will be on 1) learning some basic skills necessary to work within new media genres and 2) playfully, creatively experimenting with these skills. You’ll leave this course with a deeper understanding of the architecture of new media, including the World Wide Web and audiovisual forms like digital film and video games, as well as with a suite of basic technical literacies applicable across all disciplines.

	== ~~Assignment~~ ==		== Assignments ==

	The core assignments of this class are:		The core assignments of this class are:

Wtrettien at 15:31, 26 August 2013

2013-08-26T15:31:46Z

← Older revision		Revision as of 15:31, 26 August 2013
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	English Department, Duke University		English Department, Duke University \| Instructor: Whitney Trettien (whitney.trettien@duke.edu \| @whitneytrettien) \| Fall Semester, 2013
	Instructor: Whitney Trettien (whitney.trettien@duke.edu \| @whitneytrettien)
	Fall Semester, 2013

	For as long as anyone can remember, novelists like Gore Vidal and Phillip Roth have been sounding the death knell of narrative, killed off (we hear) by the rise of screen-based digital media. While it’s true that the sale of printed novels has declined, other forms of interactive storytelling – from video games to “netprov” and virtual reality fiction – have demonstrated how narrative persists , even prospers, in new media. In fact, in Japan, SMS technology has breathed new life into the novel through “cell phone literature,” a popular genre written and distributed in text-message-sized snippets.		For as long as anyone can remember, novelists like Gore Vidal and Phillip Roth have been sounding the death knell of narrative, killed off (we hear) by the rise of screen-based digital media. While it’s true that the sale of printed novels has declined, other forms of interactive storytelling – from video games to “netprov” and virtual reality fiction – have demonstrated how narrative persists , even prospers, in new media. In fact, in Japan, SMS technology has breathed new life into the novel through “cell phone literature,” a popular genre written and distributed in text-message-sized snippets.

Wtrettien: /* November 21: WORKSHOP */

2013-08-26T15:31:24Z

November 21: WORKSHOP

← Older revision		Revision as of 15:31, 26 August 2013
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	=== November 21: WORKSHOP ===		=== November 21: WORKSHOP ===

	Workshop final project ideas ~~(7 classmates)~~. Details forthcoming.		Workshop final project ideas. Details forthcoming.

	=== November 28: NO CLASS ===		=== November 28: NO CLASS ===

Wtrettien: /* Schedule */

2013-08-26T15:31:08Z

Schedule

← Older revision		Revision as of 15:31, 26 August 2013
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	== Schedule ==		== Schedule ==

	=== August 29: Introduction ===		=== August 29: Introduction ===

	=== September 5: Text ===		=== September 5: Text ===

	Readings:		Readings:
Line 101:		Line 101:
	* Write a story. It should be roughly the length of a 3-5-page paper, between 600-1500 words. It should have enough narrative content to give you material to work with throughout the semester, but not so long that you’ll need to remediate a novel every week. You should be interested enough in it to want to spend the next three months working with it. This story can be fiction, creative nonfiction, nonfiction, or anything in between. It should have a plot (i.e., something should happen – this is not an imagist poem), but that doesn’t mean you shouldn’t focus on crafting your language. Think of this as a first draft of a story you would want to publish in a venue appropriate to the genre.		* Write a story. It should be roughly the length of a 3-5-page paper, between 600-1500 words. It should have enough narrative content to give you material to work with throughout the semester, but not so long that you’ll need to remediate a novel every week. You should be interested enough in it to want to spend the next three months working with it. This story can be fiction, creative nonfiction, nonfiction, or anything in between. It should have a plot (i.e., something should happen – this is not an imagist poem), but that doesn’t mean you shouldn’t focus on crafting your language. Think of this as a first draft of a story you would want to publish in a venue appropriate to the genre.

	=== September 12: NO CLASS ===		=== September 12: NO CLASS ===

	Although we won’t be meeting this week, use this time to begin exploring the hypertext packet. You will thank yourself in a week.		Although we won’t be meeting this week, use this time to begin exploring the hypertext packet. You will thank yourself in a week.
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	Possible visit to Special Collections.		Possible visit to Special Collections.

	=== September 19: Print ===		=== September 19: Print ===

	Readings:		Readings:
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	* Compose a printed story from your text. It can be bound or unbound; it can be cut and paste from found printed objects or designed on your own in Word or InDesign, then printed. Use the examples I've provided for inspiration. The aim in this exercise is to investigate about how physical substratum of a printed text can alter or augment its meaning.		* Compose a printed story from your text. It can be bound or unbound; it can be cut and paste from found printed objects or designed on your own in Word or InDesign, then printed. Use the examples I've provided for inspiration. The aim in this exercise is to investigate about how physical substratum of a printed text can alter or augment its meaning.

	=== September 26: Hypertext ===		=== September 26: Hypertext ===

	Readings:		Readings:
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	* Note that this week you should also begin thinking about next week’s exercise: transforming your story into an event unfolding in time. Begin choosing what medium you wish to use (Twitter, SMS, Tumblr, a blog), set it up and begin marking out a schedule for this work.		* Note that this week you should also begin thinking about next week’s exercise: transforming your story into an event unfolding in time. Begin choosing what medium you wish to use (Twitter, SMS, Tumblr, a blog), set it up and begin marking out a schedule for this work.

	=== October 3: Unfolding in Time ===		=== October 3: Unfolding in Time ===

	Readings:		Readings:
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	* Produce your story as an event that unfolds over time on the web. The story’s unfolding needn’t be finished by class but should be significantly underway. If you’re stuck, imagine yourself as staging a play for the internet. What would be your theatre? Who would be your actors? How would people watch it?		* Produce your story as an event that unfolds over time on the web. The story’s unfolding needn’t be finished by class but should be significantly underway. If you’re stuck, imagine yourself as staging a play for the internet. What would be your theatre? Who would be your actors? How would people watch it?

	=== October 10: Audio ===		=== October 10: Audio ===

	Readings:		Readings:
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	* Produce your story entirely in audio. You needn’t (and in fact shouldn’t) just read your initial text story; rather, think of this as a radio play. What kind of sound effects do you need, if any? What kind of background noises? Will you only speak the dialogue, or will you need to narrate some of the description?		* Produce your story entirely in audio. You needn’t (and in fact shouldn’t) just read your initial text story; rather, think of this as a radio play. What kind of sound effects do you need, if any? What kind of background noises? Will you only speak the dialogue, or will you need to narrate some of the description?

	=== October 17: Visual ===		=== October 17: Visual ===

	Readings:		Readings:
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	* Produce your story entirely in visual material. You may interpret “visual material” however you like – photographs, art, colors, and so on. You can even sculpt your story if you’d like. Because we want to focus on the narrative potential of visual material, whatever you use should be silent and without text.		* Produce your story entirely in visual material. You may interpret “visual material” however you like – photographs, art, colors, and so on. You can even sculpt your story if you’d like. Because we want to focus on the narrative potential of visual material, whatever you use should be silent and without text.

	=== October 24: NO CLASS ===		=== October 24: NO CLASS ===

	Possible visit to the DiVE.		Possible visit to the DiVE.

	=== October 31: Game ===		=== October 31: Game ===

	Readings:		Readings:
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	* Storyboard and/or prototype your story into an interactive game. Who are the players? How do they win (or lose)? What medium would it be played in (board game, video game, interactive fiction)?		* Storyboard and/or prototype your story into an interactive game. Who are the players? How do they win (or lose)? What medium would it be played in (board game, video game, interactive fiction)?

	=== November 7: WORKSHOP ===		=== November 7: WORKSHOP ===

	Workshop final project ideas. Details forthcoming.		Workshop final project ideas. Details forthcoming.

	=== November 14: Augmented Reality ===		=== November 14: Augmented Reality ===

	Readings:		Readings:
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	* Storyboard and/or prototype your narrative as an augmented reality experience – that is, a narrative that can be read, experienced or played within a particular space. Where would your narrative be played? By whom? What are the mechanisms of interaction and experience (i.e., the tools and technologies you’re using)?		* Storyboard and/or prototype your narrative as an augmented reality experience – that is, a narrative that can be read, experienced or played within a particular space. Where would your narrative be played? By whom? What are the mechanisms of interaction and experience (i.e., the tools and technologies you’re using)?

	=== November 21: WORKSHOP ===		=== November 21: WORKSHOP ===

	Workshop final project ideas (7 classmates). Details forthcoming.		Workshop final project ideas (7 classmates). Details forthcoming.

	=== November 28: NO CLASS ===		=== November 28: NO CLASS ===

	=== December 5: Final Projects ===		=== December 5: Final Projects ===

	Show and tell of final projects. Email any digital materials to me by 2pm on the day of class.		Show and tell of final projects. Email any digital materials to me by 2pm on the day of class.

Wtrettien at 15:30, 26 August 2013

2013-08-26T15:30:17Z

← Older revision		Revision as of 15:30, 26 August 2013
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	== Schedule ==		== Schedule ==

	~~'''~~August 29: Introduction~~'''~~		=== August 29: Introduction ===

	~~'''~~September 5: Text~~'''~~		=== September 5: Text ===

	Readings:		Readings:
Line 101:		Line 101:
	* Write a story. It should be roughly the length of a 3-5-page paper, between 600-1500 words. It should have enough narrative content to give you material to work with throughout the semester, but not so long that you’ll need to remediate a novel every week. You should be interested enough in it to want to spend the next three months working with it. This story can be fiction, creative nonfiction, nonfiction, or anything in between. It should have a plot (i.e., something should happen – this is not an imagist poem), but that doesn’t mean you shouldn’t focus on crafting your language. Think of this as a first draft of a story you would want to publish in a venue appropriate to the genre.		* Write a story. It should be roughly the length of a 3-5-page paper, between 600-1500 words. It should have enough narrative content to give you material to work with throughout the semester, but not so long that you’ll need to remediate a novel every week. You should be interested enough in it to want to spend the next three months working with it. This story can be fiction, creative nonfiction, nonfiction, or anything in between. It should have a plot (i.e., something should happen – this is not an imagist poem), but that doesn’t mean you shouldn’t focus on crafting your language. Think of this as a first draft of a story you would want to publish in a venue appropriate to the genre.

	~~'''~~September 12: NO CLASS~~'''~~		=== September 12: NO CLASS ===

	Although we won’t be meeting this week, use this time to begin exploring the hypertext packet. You will thank yourself in a week.		Although we won’t be meeting this week, use this time to begin exploring the hypertext packet. You will thank yourself in a week.
Line 107:		Line 107:
	Possible visit to Special Collections.		Possible visit to Special Collections.

	~~'''~~September 19: Print~~'''~~		=== September 19: Print ===

	Readings:		Readings:
Line 131:		Line 131:
	* Compose a printed story from your text. It can be bound or unbound; it can be cut and paste from found printed objects or designed on your own in Word or InDesign, then printed. Use the examples I've provided for inspiration. The aim in this exercise is to investigate about how physical substratum of a printed text can alter or augment its meaning.		* Compose a printed story from your text. It can be bound or unbound; it can be cut and paste from found printed objects or designed on your own in Word or InDesign, then printed. Use the examples I've provided for inspiration. The aim in this exercise is to investigate about how physical substratum of a printed text can alter or augment its meaning.

	~~'''~~September 26: Hypertext~~'''~~		=== September 26: Hypertext ===

	Readings:		Readings:
Line 155:		Line 155:
	* Note that this week you should also begin thinking about next week’s exercise: transforming your story into an event unfolding in time. Begin choosing what medium you wish to use (Twitter, SMS, Tumblr, a blog), set it up and begin marking out a schedule for this work.		* Note that this week you should also begin thinking about next week’s exercise: transforming your story into an event unfolding in time. Begin choosing what medium you wish to use (Twitter, SMS, Tumblr, a blog), set it up and begin marking out a schedule for this work.

	~~'''~~October 3: Unfolding in Time~~'''~~		=== October 3: Unfolding in Time ===

	Readings:		Readings:
Line 177:		Line 177:
	* Produce your story as an event that unfolds over time on the web. The story’s unfolding needn’t be finished by class but should be significantly underway. If you’re stuck, imagine yourself as staging a play for the internet. What would be your theatre? Who would be your actors? How would people watch it?		* Produce your story as an event that unfolds over time on the web. The story’s unfolding needn’t be finished by class but should be significantly underway. If you’re stuck, imagine yourself as staging a play for the internet. What would be your theatre? Who would be your actors? How would people watch it?

	~~'''~~October 10: Audio~~'''~~		=== October 10: Audio ===

	Readings:		Readings:
Line 191:		Line 191:
	* Produce your story entirely in audio. You needn’t (and in fact shouldn’t) just read your initial text story; rather, think of this as a radio play. What kind of sound effects do you need, if any? What kind of background noises? Will you only speak the dialogue, or will you need to narrate some of the description?		* Produce your story entirely in audio. You needn’t (and in fact shouldn’t) just read your initial text story; rather, think of this as a radio play. What kind of sound effects do you need, if any? What kind of background noises? Will you only speak the dialogue, or will you need to narrate some of the description?

	~~'''~~October 17: Visual~~'''~~		=== October 17: Visual ===

	Readings:		Readings:
Line 213:		Line 213:
	* Produce your story entirely in visual material. You may interpret “visual material” however you like – photographs, art, colors, and so on. You can even sculpt your story if you’d like. Because we want to focus on the narrative potential of visual material, whatever you use should be silent and without text.		* Produce your story entirely in visual material. You may interpret “visual material” however you like – photographs, art, colors, and so on. You can even sculpt your story if you’d like. Because we want to focus on the narrative potential of visual material, whatever you use should be silent and without text.

	~~'''~~October 24: NO CLASS~~'''~~		=== October 24: NO CLASS ===

	Possible visit to the DiVE.		Possible visit to the DiVE.

	~~'''~~October 31: Game~~'''~~		=== October 31: Game ===

	Readings:		Readings:
Line 243:		Line 243:
	* Storyboard and/or prototype your story into an interactive game. Who are the players? How do they win (or lose)? What medium would it be played in (board game, video game, interactive fiction)?		* Storyboard and/or prototype your story into an interactive game. Who are the players? How do they win (or lose)? What medium would it be played in (board game, video game, interactive fiction)?

	~~'''~~November 7: WORKSHOP~~'''~~		=== November 7: WORKSHOP ===

	Workshop final project ideas. Details forthcoming.		Workshop final project ideas. Details forthcoming.

	~~'''~~November 14: Augmented Reality~~'''~~		=== November 14: Augmented Reality ===

	Readings:		Readings:
Line 272:		Line 272:
	* Storyboard and/or prototype your narrative as an augmented reality experience – that is, a narrative that can be read, experienced or played within a particular space. Where would your narrative be played? By whom? What are the mechanisms of interaction and experience (i.e., the tools and technologies you’re using)?		* Storyboard and/or prototype your narrative as an augmented reality experience – that is, a narrative that can be read, experienced or played within a particular space. Where would your narrative be played? By whom? What are the mechanisms of interaction and experience (i.e., the tools and technologies you’re using)?

	~~'''~~November 21: WORKSHOP~~'''~~		=== November 21: WORKSHOP ===

	Workshop final project ideas (7 classmates). Details forthcoming.		Workshop final project ideas (7 classmates). Details forthcoming.

	~~'''~~November 28: NO CLASS~~'''~~		=== November 28: NO CLASS ===

	~~'''~~December 5: Final Projects~~'''~~		=== December 5: Final Projects ===

	Show and tell of final projects. Email any digital materials to me by 2pm on the day of class.		Show and tell of final projects. Email any digital materials to me by 2pm on the day of class.

Wtrettien: /* Schedule */

2013-08-26T15:28:30Z

Schedule

← Older revision		Revision as of 15:28, 26 August 2013
Line 75:		Line 75:
	== Schedule ==		== Schedule ==

	August 29: Introduction		'''August 29: Introduction'''

	September 5: Text		'''September 5: Text'''

	Readings:		Readings:
Line 101:		Line 101:
	* Write a story. It should be roughly the length of a 3-5-page paper, between 600-1500 words. It should have enough narrative content to give you material to work with throughout the semester, but not so long that you’ll need to remediate a novel every week. You should be interested enough in it to want to spend the next three months working with it. This story can be fiction, creative nonfiction, nonfiction, or anything in between. It should have a plot (i.e., something should happen – this is not an imagist poem), but that doesn’t mean you shouldn’t focus on crafting your language. Think of this as a first draft of a story you would want to publish in a venue appropriate to the genre.		* Write a story. It should be roughly the length of a 3-5-page paper, between 600-1500 words. It should have enough narrative content to give you material to work with throughout the semester, but not so long that you’ll need to remediate a novel every week. You should be interested enough in it to want to spend the next three months working with it. This story can be fiction, creative nonfiction, nonfiction, or anything in between. It should have a plot (i.e., something should happen – this is not an imagist poem), but that doesn’t mean you shouldn’t focus on crafting your language. Think of this as a first draft of a story you would want to publish in a venue appropriate to the genre.

	September 12: NO CLASS		'''September 12: NO CLASS'''

	Although we won’t be meeting this week, use this time to begin exploring the hypertext packet. You will thank yourself in a week.		Although we won’t be meeting this week, use this time to begin exploring the hypertext packet. You will thank yourself in a week.
Line 107:		Line 107:
	Possible visit to Special Collections.		Possible visit to Special Collections.

	September 19: Print		'''September 19: Print'''

	Readings:		Readings:
Line 131:		Line 131:
	* Compose a printed story from your text. It can be bound or unbound; it can be cut and paste from found printed objects or designed on your own in Word or InDesign, then printed. Use the examples I've provided for inspiration. The aim in this exercise is to investigate about how physical substratum of a printed text can alter or augment its meaning.		* Compose a printed story from your text. It can be bound or unbound; it can be cut and paste from found printed objects or designed on your own in Word or InDesign, then printed. Use the examples I've provided for inspiration. The aim in this exercise is to investigate about how physical substratum of a printed text can alter or augment its meaning.

	September 26: Hypertext		'''September 26: Hypertext'''

	Readings:		Readings:
Line 155:		Line 155:
	* Note that this week you should also begin thinking about next week’s exercise: transforming your story into an event unfolding in time. Begin choosing what medium you wish to use (Twitter, SMS, Tumblr, a blog), set it up and begin marking out a schedule for this work.		* Note that this week you should also begin thinking about next week’s exercise: transforming your story into an event unfolding in time. Begin choosing what medium you wish to use (Twitter, SMS, Tumblr, a blog), set it up and begin marking out a schedule for this work.

	October 3: Unfolding in Time		'''October 3: Unfolding in Time'''

	Readings:		Readings:
Line 177:		Line 177:
	* Produce your story as an event that unfolds over time on the web. The story’s unfolding needn’t be finished by class but should be significantly underway. If you’re stuck, imagine yourself as staging a play for the internet. What would be your theatre? Who would be your actors? How would people watch it?		* Produce your story as an event that unfolds over time on the web. The story’s unfolding needn’t be finished by class but should be significantly underway. If you’re stuck, imagine yourself as staging a play for the internet. What would be your theatre? Who would be your actors? How would people watch it?

	October 10: Audio		'''October 10: Audio'''

	Readings:		Readings:
Line 191:		Line 191:
	* Produce your story entirely in audio. You needn’t (and in fact shouldn’t) just read your initial text story; rather, think of this as a radio play. What kind of sound effects do you need, if any? What kind of background noises? Will you only speak the dialogue, or will you need to narrate some of the description?		* Produce your story entirely in audio. You needn’t (and in fact shouldn’t) just read your initial text story; rather, think of this as a radio play. What kind of sound effects do you need, if any? What kind of background noises? Will you only speak the dialogue, or will you need to narrate some of the description?

	October 17: Visual		'''October 17: Visual'''

	Readings:		Readings:
Line 213:		Line 213:
	* Produce your story entirely in visual material. You may interpret “visual material” however you like – photographs, art, colors, and so on. You can even sculpt your story if you’d like. Because we want to focus on the narrative potential of visual material, whatever you use should be silent and without text.		* Produce your story entirely in visual material. You may interpret “visual material” however you like – photographs, art, colors, and so on. You can even sculpt your story if you’d like. Because we want to focus on the narrative potential of visual material, whatever you use should be silent and without text.

	October 24: NO CLASS		'''October 24: NO CLASS'''

	Possible visit to the DiVE.		Possible visit to the DiVE.

	October 31: Game		'''October 31: Game'''

	Readings:		Readings:
Line 243:		Line 243:
	* Storyboard and/or prototype your story into an interactive game. Who are the players? How do they win (or lose)? What medium would it be played in (board game, video game, interactive fiction)?		* Storyboard and/or prototype your story into an interactive game. Who are the players? How do they win (or lose)? What medium would it be played in (board game, video game, interactive fiction)?

	November 7: WORKSHOP		'''November 7: WORKSHOP'''

	Workshop final project ideas. Details forthcoming.		Workshop final project ideas. Details forthcoming.

	November 14: Augmented Reality		'''November 14: Augmented Reality'''

	Readings:		Readings:
Line 272:		Line 272:
	* Storyboard and/or prototype your narrative as an augmented reality experience – that is, a narrative that can be read, experienced or played within a particular space. Where would your narrative be played? By whom? What are the mechanisms of interaction and experience (i.e., the tools and technologies you’re using)?		* Storyboard and/or prototype your narrative as an augmented reality experience – that is, a narrative that can be read, experienced or played within a particular space. Where would your narrative be played? By whom? What are the mechanisms of interaction and experience (i.e., the tools and technologies you’re using)?

	November 21: WORKSHOP		'''November 21: WORKSHOP'''

	Workshop final project ideas (7 classmates). Details forthcoming.		Workshop final project ideas (7 classmates). Details forthcoming.

	November 28: NO CLASS		'''November 28: NO CLASS'''

	December 5: Final Projects		'''December 5: Final Projects'''

	Show and tell of final projects. Email any digital materials to me by 2pm on the day of class.		Show and tell of final projects. Email any digital materials to me by 2pm on the day of class.

Wtrettien: /* Schedule */

2013-08-26T15:27:06Z

Schedule

← Older revision		Revision as of 15:27, 26 August 2013
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	* Using Narrative Structures: http://narrativestructures.wisc.edu/structures		* Using Narrative Structures: http://narrativestructures.wisc.edu/structures

	In-class examples		In-class examples:

	* Kinetic Typography: http://www.creativebloq.com/typography/examples-kinetic-typography-11121304		* Kinetic Typography: http://www.creativebloq.com/typography/examples-kinetic-typography-11121304

			* John Branch, "Snow Fall," New York Times: http://www.nytimes.com/projects/2012/snow-fall/#/?part=tunnel-creek

	Assignment:		Assignment:

Wtrettien at 15:26, 26 August 2013

2013-08-26T15:26:02Z

← Older revision		Revision as of 15:26, 26 August 2013
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	~~http://www.nybooks.com/blogs/nyrblog/2013/feb/20/scrapbook-nation/~~

	~~http://dish.andrewsullivan.com/2013/02/22/reading-nothing-but-the-scraps/~~

	~~http://www.theatlantic.com/technology/archive/2011/02/revealing-the-man-behind-mayoremanuel/71802/~~

	~~http://aliendovecote.com/uploads/twine/parasite.html#b~~

	~~http://designingsound.org/2013/08/noise-storytelling-with-sound-and-visuals-on-the-radio-with-radiolabs-jad-abumrad/~~

	English Department, Duke University		English Department, Duke University
	Instructor: Whitney Trettien (whitney.trettien@duke.edu \| @whitneytrettien)		Instructor: Whitney Trettien (whitney.trettien@duke.edu \| @whitneytrettien)
Line 19:		Line 9:
	This course will be run as a workshop. While there will be a significant amount of reading (or playing, or watching, or listening) each week, emphasis will be on 1) learning some basic skills necessary to work within new media genres and 2) playfully, creatively experimenting with these skills. You’ll leave this course with a deeper understanding of the architecture of new media, including the World Wide Web and audiovisual forms like digital film and video games, as well as with a suite of basic technical literacies applicable across all disciplines.		This course will be run as a workshop. While there will be a significant amount of reading (or playing, or watching, or listening) each week, emphasis will be on 1) learning some basic skills necessary to work within new media genres and 2) playfully, creatively experimenting with these skills. You’ll leave this course with a deeper understanding of the architecture of new media, including the World Wide Web and audiovisual forms like digital film and video games, as well as with a suite of basic technical literacies applicable across all disciplines.

	== ~~ASSIGNMENTS~~ ==		== Assignment ==

	The core assignments of this class are:		The core assignments of this class are:
Line 31:		Line 21:
	Begin thinking about the final project very early in the semester – as early as the first week, while you are writing your story.		Begin thinking about the final project very early in the semester – as early as the first week, while you are writing your story.

	== ~~READINGS~~ ==		== Readings ==

	All readings are either available online (links provided in the schedule) or via our class blog.		All readings are either available online (links provided in the schedule) or via our class blog.
Line 37:		Line 27:
	Most of the readings are offered as examples of storytelling within a given week’s medium, or descriptions of how someone has used the medium effectively. Explore them for inspiration. Although you won’t be tested on the content of the readings, I will refer to them frequently in class and will expect you to be able to discuss them.		Most of the readings are offered as examples of storytelling within a given week’s medium, or descriptions of how someone has used the medium effectively. Explore them for inspiration. Although you won’t be tested on the content of the readings, I will refer to them frequently in class and will expect you to be able to discuss them.

	== ~~GRADING~~ ==		== Grading ==

	Each of the 8 iterations of your story account for 7% of your grade each, for 56% of your total grade. If you complete a given week’s story on time and show a thoughtful engagement with the task, you’ll receive all 7 percentage points for your story. I will deduct 2 percentage points for every day your story is late, and reserve the right to deduct percentage points if your work shows that a lack of time or attention when into it. If you don’t turn an assignment in at all, you’ll of course receive 0 percentage points for that week.		Each of the 8 iterations of your story account for 7% of your grade each, for 56% of your total grade. If you complete a given week’s story on time and show a thoughtful engagement with the task, you’ll receive all 7 percentage points for your story. I will deduct 2 percentage points for every day your story is late, and reserve the right to deduct percentage points if your work shows that a lack of time or attention when into it. If you don’t turn an assignment in at all, you’ll of course receive 0 percentage points for that week.
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	Your final project is worth 20% of your total grade. A more detailed rubric on how I will be grading these projects is forthcoming.		Your final project is worth 20% of your total grade. A more detailed rubric on how I will be grading these projects is forthcoming.

	== ~~ON ATTENDANCE~~ ==		== On Attendance ==

	Because this class only meets once a week, it is imperative that you attend every class. This class is run like a workshop; your classmates are relying on your attendance to receive feedback on their work.		Because this class only meets once a week, it is imperative that you attend every class. This class is run like a workshop; your classmates are relying on your attendance to receive feedback on their work.
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	If you find yourself needing to be absent and you’ve already used your one freebie, notify me as soon as possible to arrange for an excused absence. In the case of excused absences, you’re still responsible for turning in any assignments on time. I reserve the right to require additional work from you in the case of an excused absence.		If you find yourself needing to be absent and you’ve already used your one freebie, notify me as soon as possible to arrange for an excused absence. In the case of excused absences, you’re still responsible for turning in any assignments on time. I reserve the right to require additional work from you in the case of an excused absence.

	== ~~LATE POLICY~~ ==		== Late Policy ==

	As I note in the “Grading” section above, each day that one of your weekly remediations is late will result in a 2-percentage-point reduction from your 7 points possible for that assignment.		As I note in the “Grading” section above, each day that one of your weekly remediations is late will result in a 2-percentage-point reduction from your 7 points possible for that assignment.
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	As for being late to class: don’t. It will result in a deduction in your participation grade; but, more importantly, it’s just rude.		As for being late to class: don’t. It will result in a deduction in your participation grade; but, more importantly, it’s just rude.

	== ~~TECHNOLOGY POLICY~~ ==		== Technology Policy ==

	Please bring your laptop to class. We may be using it to look at different examples together. However, know that I know when you’re looking at your time-wasting website of choice (trust me, it is really obvious to every one of your professors), and will probably ask you to put it away. It’s really rude to hover behind a screen when one of your classmates is sharing work he or she may have sweated over for hours.		Please bring your laptop to class. We may be using it to look at different examples together. However, know that I know when you’re looking at your time-wasting website of choice (trust me, it is really obvious to every one of your professors), and will probably ask you to put it away. It’s really rude to hover behind a screen when one of your classmates is sharing work he or she may have sweated over for hours.
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	Please turn your cell phones to silent during class.		Please turn your cell phones to silent during class.

	== ~~CREATING COMMUNITY~~ ==		== Creating Community ==

	Our class is a semi-private community, brought together by the shared goal of creating knowledge together while improving each other’s work. Be prudent in how you discuss your classmates’ work outside the classroom. We each write with the knowledge that it will be shared with 15 classmates, not with each person’s Twitter followers, Facebook friends or lunchmates. If you want to share some aspect of someone’s work, ask her permission first.		Our class is a semi-private community, brought together by the shared goal of creating knowledge together while improving each other’s work. Be prudent in how you discuss your classmates’ work outside the classroom. We each write with the knowledge that it will be shared with 15 classmates, not with each person’s Twitter followers, Facebook friends or lunchmates. If you want to share some aspect of someone’s work, ask her permission first.
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	Approach me with any concerns. You can review Duke’s Community Standard here: http://www.registrar.duke.edu/bulletins/communitystandard/		Approach me with any concerns. You can review Duke’s Community Standard here: http://www.registrar.duke.edu/bulletins/communitystandard/

	== ~~GETTING IN TOUCH~~ ==		== Getting in Touch ==

	I’m here to help you learn and improve as a writer and as a critical thinker. Please approach me with any questions, comments or concerns. The best way to get in touch is through email (whitney.trettien@duke.edu). I’m also available to you on Twitter (@whitneytrettien). I don’t hold office hours but am happy to make an appointment with you.		I’m here to help you learn and improve as a writer and as a critical thinker. Please approach me with any questions, comments or concerns. The best way to get in touch is through email (whitney.trettien@duke.edu). I’m also available to you on Twitter (@whitneytrettien). I don’t hold office hours but am happy to make an appointment with you.

			== Schedule ==
	== ~~SCHEDULE~~ ==

	August 29: Introduction		August 29: Introduction
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	* Using Narrative Structures: http://narrativestructures.wisc.edu/structures		* Using Narrative Structures: http://narrativestructures.wisc.edu/structures

			In-class examples

			* Kinetic Typography: http://www.creativebloq.com/typography/examples-kinetic-typography-11121304

	Assignment:		Assignment:
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	* “The Sound and the Fury as William Faulkner imagined, in color,” LA Times (5 July 2012). http://latimesblogs.latimes.com/jacketcopy/2012/07/the-sound-and-the-fury-as-william-faulkner-imagined-in-color.html		* “The Sound and the Fury as William Faulkner imagined, in color,” LA Times (5 July 2012). http://latimesblogs.latimes.com/jacketcopy/2012/07/the-sound-and-the-fury-as-william-faulkner-imagined-in-color.html

			In-class examples:

			* Jacques Derrida, Glas (Lincoln: University of Nebraska Press, 1986).

			* Guy Debord, Memoires (Paris: Editions Allia, 2004).

	Assignment:		Assignment:
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	* For more examples, browse any of the works in the Eastgate Reading Room: http://www.eastgate.com/ReadingRoom.html		* For more examples, browse any of the works in the Eastgate Reading Room: http://www.eastgate.com/ReadingRoom.html

			In class examples:

			* Edward Packard, The Cave of Time (Choose Your Own Adventure) (Bantam, 1979).

	Assignment:		Assignment:
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	* Nikolas Koenig, “Peeps Show,” NYTimes (4 April 2012). http://www.nytimes.com/interactive/2012/04/08/magazine/peep-factory.html		* Nikolas Koenig, “Peeps Show,” NYTimes (4 April 2012). http://www.nytimes.com/interactive/2012/04/08/magazine/peep-factory.html

			In-class examples:

			* Chris Ware, Building Stories (Pantheon, 2012).

	Assignment:		Assignment:

Wtrettien at 15:19, 26 August 2013

2013-08-26T15:19:39Z

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