Electronic Writing II

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Electronic Writing II :: LITR 0210D :: Spring 2011

Grad Center E, room 123
Tuesdays 4-6:20pm, Thursdays 5-6:20pm (lab)

Instructor: Ian Hatcher, ian_hatcher AT brown.edu
Office hours: By appointment, 68 1/2 Brown St, room 306

First class meeting: TUESDAY, FEB 1ST.



This course is a writing workshop focused on digital media. We'll be creating and examining writing combined with elements of programming, sound, video, interactivity, the live performing body, the internet, mobile devices, and contemporary digital culture. No background in programming or artmaking is required.

Our focus is threefold:

  1. To create and write together, read our writing, talk about what writing does to us when we write and read it, and to develop new approaches to reading and writing made possible and informed by digital media.
  2. To read others' writing and look at others' artworks, talk about their effects, powers, problems, and implications, and to find inspiration to create our own works in creative response to them.
  3. To learn technical skills as useful to these ends, and, just as importantly, learn how to research and teach ourselves additional skills when we find we need them for our projects.

This is fundamentally a production class, oriented toward the exploration and/or establishment of an art practice involving electronic writing. In Literary Arts workshop parlance, it is both beginning and intermediate level. There are no prerequisites, and it can be retaken for credit.


The course is graded on a pass/fail basis (S/NC). To pass you'll need to attend class, participate regularly, do the readings, and complete all assignments. Plan to spend up to five hours on the course outside of class each week.

Attendance is mandatory, with reasonable exceptions. Each meeting will build on and connect to previous ones, so missing class will substantially reduce what you, and your peers, get out of the course. If you know you'll be absent or late, please inform me by email ASAP so I can plan accordingly. More than two unexcused absences may result in no credit.

Never skip class because you feel unprepared. Instead just let me know, in person or by email. We are all busy people with complicated lives; I understand this can happen at times.

Office Meetings

I'd like you to drop by my office to meet with me at least twice during the semester to talk about the course and the directions of your work. You're also welcome to email me questions if you run into technical or conceptual dilemmas, or have concerns about the course.

In Class

We'll be doing quite a few things every time we meet, moving quickly between them, so please arrive on time.

One of the main things we'll be doing is talking about your work, and that of your peers, in great detail and with a great deal of respect. Our aims in doing so will be to expand our abilities to perceive and shape subtleties of writing, open up new directions for artmaking, and find possible ways of refining the affective powers of the works before us. We'll discuss good methods of presentation and critique in our first few classes together.

You will be encouraged to take risks and navigate unfamiliar territory in this class without concerning yourself with potential embarrassments. Keep in mind that rough sketches can sometimes spark better conversations than polished projects, and strings of interesting failed experiments often lead to successes unreachable by other routes.

Open laptops/phones are not allowed during workshop unless you're presenting work, looking up something you're about to share with the group, or taking part in a collective exercise or project. The internet is full of marvels and the myth of efficient multitasking persists, but I want everyone mentally sharp and attentive when experiencing each other's work.


On Thursdays I'll be teaching technical fundamentals of tools you may want to use for your projects: Processing, RiTa, basic web coding, sound, video, etc. If there are other tools or mediums you'd like to try, let me know and I can probably work them into the lab, or at least point you in useful directions.

During labs we'll also have informal conversations as a class about what everybody's working on and/or thinking about, and we'll try to help one another with research and formulating ideas. If you don't need help, it's a good time to work on your assignment for the next week. (I'll also play excellent music in the background.) Attendance at labs is therefore semi-required, even if you're old hat at whatever I'm covering on a particular day. This is negotiable if you have time conflicts.

Course Texts

Available in the Brown Bookstore or online:

  1. 39 Microlectures, Matthew Goulish
  2. The New Media Reader, Wardrip-Fruin and Nick Montfort, ed.

All other readings/materials will be links, PDFs, or packets that I'll give you.


There will be an assignment nearly every week, due the next. Assignments typically consist of a few short readings and a creative prompt. Do the readings first, then let your thinking about what you've read percolate into your creative work.

You must do all readings and assignments. However, by no means do all assignments need to bloom into big, glorious projects. If you are extremely busy on a particular week, it's okay to spend only 20 minutes making something very small. Please email your weekly work, or some version/documentation of it, to me by noon every Monday if possible. You may also want to send your work around to your classmates to look at in advance, especially if it's lengthy or complex.

Occasional late assignments are okay, but it's important to keep up as best you can. Don't put your work off til the end of the semester then give me a stack of haiku you wrote the night before. The course is designed to develop your creative abilities in a way analogous to physical conditioning – as with muscles, artmaking skills can be more effectively strengthened by making many smaller efforts over time than by attempting to do an enormous amount of work all at once.

Not all finished assignments will be critiqued in class. We'll inevitably end up with a sizable backlog of them, and you should select your most adventurous and/or problematic efforts to present to the group. It's fine to bring in a project in for feedback not created in response to an assignment.

I'll be designing assignments/readings as we proceed based on the chemistry of the class, students' interests, and what comes up in discussions. For this reason, details of assignments won't be posted here until the day they're assigned. If you'd like a preview, you can check out last semester's schedule. The nature of this semester's assignments will be similar.

To email me assignments:

Send to: brownew2@gmail.com

Mark your files with your name and the assignment number. Something like: "Ian_A2_My project.zip". If there are multiple, put them all in a folder together, zip the folder, then send that file to me.

If there are special instructions for reading/running your work, or other comments, please include them as a .txt file ("Ian_A2_readme.txt").

Final Reading

Our time together will conclude with a free-and-open-to-the-public reading of your work, set up by the Literary Arts department. You may read/present/perform any of your projects created this spring. We'll talk details and dates in the latter half of the semester.


(Assignment details will be posted on days they are given; see above.)

Week 1 (Feb 1): Introductions

Music: Terry Riley, Shri Camel

Recommended event: The Book In My Life. Presentations in Pecha Kucha style, JCB Library, Wed Feb 2, 6pm POSTPONED! Rescheduled for April.

In-Class Tabs

Assignment 1: Writing Materials Writing Materials

  • Reading for next week
  1. Matthew Goulish: 39 Microlectures, pages 3-24. Read a few other short excerpts as well, following the suggested approach from the first page of the book.
  2. Lev Manovich's introduction to the NMR, pages 13-25.
  • Writing for next week
  1. Find a short passage in the reading that interests you. Transcribe it, then reorder, remix, and add your own words as you like.
  2. Now transcribe the new version with/into a physical medium of your choosing. Possible options to consider: pen, pencil, mechanical pencil, permanent marker, typewriter, text editor, photocopier, scissors, tape, lights, your body, someone else's body, water, dirt, wax, icing, snow. What medium might make your text more interesting to a reader, or change what it means entirely? Email me your work by Monday, then bring it to class next week (if this is difficult/impossible, take a photo or otherwise document it).
  3. Browse through the Electronic Literature Collection, volume 1 for 30 minutes and think about the range of works you see there. Find one that strikes you as interesting and be ready to read a short excerpt from it (in any way you see fit) to the class next week.

Note: No lab on Feb 3; I'll be at AWP.

Week 2 (Feb 8): Materials, Maps, Approaches

Music: Jénsi, Go; Oval, 94 Diskont

In-class Tabs

  1. Inexplicable Internet Maps: 1, 2
  2. Electronic Literature Collection, vol 1
  3. Sam Gorman's digital media concepts/artifacts list

Lit Arts events this week

  1. John Banville reading, Tues, Feb 8 at 7:30 pm (001 Salomon). John Banville is the author of 15 novels, the most recent being The Infinities. Recipient of the Man Booker Prize (one of Britain's most prestigious fiction prizes). "Without question, one of the greatest living masters of English-language prose," says LA Times. More info
  2. Memorial Tribute to Michael Gizzi on Thurs, Feb 10 at 7:30 pm (McCormack Family Theater, 70 Brown Street). Gizzi was longtime close friend of the Literary Arts department who passed away in Sept. Friends and family will read from Michael Gizzi's poetry and celebrate his contributions to contemporary letters.

Assignment 2: Word Processing

  • Reading for next week:
  1. "The Cut-Up Method of Brion Gysin" in the NMR (p89-91)
  2. Burroughs in The Paris Review (excerpt) [PDF]
  3. Goulish: p31-39 in 39 Microlectures
  4. Stein: "Composition as Explanation" [PDF] (Note: if you find it opaque, try reading it aloud)
  • Writing for next week:
  1. Write a creative response to Stein using a computer. Any arguably 'electronic' medium is fine: word processor, text editor, code, etc. If you are unsure of how to begin, consider creating a remix by copying excerpts of her language and restructuring / revisualizing it using the functions of a high-level word processor (Word, etc.). Try to incorporate mysterious menu options you've never used and aren't sure what they're even for.
  2. Be prepared to read your response to class. If your work can be printed, it may be interesting to bring a few paper copies.

Lab: HTML / How The Web Works

Week 3 (Feb 15): Constraints, Symbols, Secrets

Music: James Blake

In-Class Tabs

  1. Samantha Gorman: Canticle
  2. Burroughs: Warning Warning Warning Warning Warning Warning Warning Warning Warning from My Own Mag no. 4, March 1964
  3. Gertrude Stein: If I Told Him (A Complete Portrait of Picasso)
  4. Kenny Goldsmith: Day
  5. Kissing, knocking out, onomatopoeic venereal disease, "Two Steps Forward", Exit Through the Gift Shop (film), eyewitness accuracy

Lits Arts events this week

  1. Wed Feb 16, 1pm-2pm: Hay Library. In this program Rosemary Cullen, Special Collections Librarian, will present highlights of the Artists' Books in the John Hay Library showing examples of how artists use the book format to express themselves and challenge our thinking. For Brown and RISD Students Only. RSVP. More info
  2. Wed Feb 16, 730pm: Bradford Morrow reads from his new novel, The Diviner's Tale, in the McCormack Family Theater. Brad Morrow's other novel titles are Come Sunday, The Almanac Branch, Trinity Fields, Giovanni's Gift and Ariel's Crossing. Founder of the distinguished literary journal, Conjunctions, he is also author, in collaboration with 18 artists, of A Bestiary, as well as of a book for children, Didn't Didn't Do It (illustrated by Gahan Wilson); and is editor of the New Gothic (with Patrick McGrath) and The Complete Poems of Kenneth Rexroth (with Sam Hammil).

Assignment 3: The Head and the Body

  • Reading for next class:
  1. Jackson: "My Body"
  2. Harvey: "The Body Politic: Anatomy of a Metaphor" (just the first page, or more if you find it interesting)
  3. Goulish: "The Golem of Prague", p 94-95 in 39 Microlectures
  4. "Superorganism" article on Wikipedia
  5. (optional) Haraway: "A Cyborg Manifesto", p 515-537 in the NMR
  • Writing for next class:
  1. Create a piece of electronic writing involving conceptions of "head" and "body". Try to structure your work into two main parts existing in some kind of head/body relationship. If you are just learning HTML (or know it already), you might consider the metaphors at play in the basic structure of HTML documents and incorporate these into your work.
  • Additional reading/listening that came up in class this week:
  1. Radiohead: Fitter Happier (.mp3)
  2. "Uncanny valley" article on Wikipedia


If you want to learn basic (non-web) coding on Thursday, download and install Processing in advance, if possible. You might also "explore the exhibition" and "play with examples" on the Processing site to get a better sense of what can be done with it.

  • Web coding links/resources
  1. Class example of basic HTML/site structure (updated version from class is there as well)
  2. Relatively short list of useful HTML tags
  3. CSS tutorials on w3schools
  4. Standard web fonts

Week 4 (Feb 22): Long Weekend

Literary goings-on this week

  1. Book arts events at RISD and the JCB Library this Friday and Saturday. More info
  2. Reading by Laura Mullen, Friday 2:30pm, Granoff Auditorium

No class on Tuesday. Bring assignments-in-progress to lab on Thursday.

Week 5 (Mar 1): Histories via Time Travel in the Present

Music: Philip Jeck (ambient jams during window writing)

In-Class Tabs

  1. The Virtual Window

Events this week

  1. Tues 7-9pm: "Tracing the Digital/Conceptual" lecture at RISD, CIT (169 Weybosset) room 103. Artist Jean-Pierre Hébert in conversation with Francisco J. Ricardo, Ph.D. An exploration of the elegance and philosophy of art engaging electronic and kinetic media. (I'll be heading over to this right after class.)
  2. Wed 6pm: Reading in four dimensions: How to use sports, Shakespeare, and particle physics to predict the future of publishing - Lecture with Andrew Losowsky, JCB Library. More info
  3. Fri 11am: Remember Haiti, JCB Library. Presentation of a web site showcasing Haitian works from the John Carter Brown Library now available online through the Internet Archive. More info

(The 2nd and 3rd events above are part of the semester-long series Transformations of the Book)

Assignment 4: Work and Play

  • Listening/reading/thinking for next week:
  1. Bergvall: Listen to recordings of "wash" and "fold" on her website.
  2. Goulish: "How does a work work where?" p 99-102 in 39 Microlectures
  3. Kaprow: "Happenings in the New York Scene", p 84-88 in the NMR
  4. Yoko Ono: Selected Instruction Pieces. Choose four of these. Use a stopwatch or timer. Spend exactly four minutes and four seconds with each piece, rereading it and following the instructions in your mind's eye.
  • Writing for next week:
  1. Make work by playing. The work must involve words. The playing must involve words. Notice places in the work or play where work and play become the same. Don't worry about working too hard, but try not to play too softly.

Week 6 (Mar 8): Raining In/Out the Window

Music: Gonzales, Solo Piano

In-class Listening: Caroline Bergvall, "Via" (print version in Fig)

In-class Tab

  1. Situationist App

Events this week

  1. Thurs 6pm: The Institution of the Book: Why Shelley Jackson doesn’t write hypertext. Lecture with John Cayley, Brown Professor of Literary Arts. More info I'll be ending lab 30 min early so we can attend this; it is required unless you absolutely have to be elsewhere.

Assignment 5: Reading and Routing

  • Reading/downloading for next week:
  1. Goulish: "Criticism" p 43-47 in 39 Microlectures
  2. Lescure: "Brief History of the Oulipo" p 172-176 in the NMR
  3. Queneau: "A Hundred Thousand Billion Poems", bottom of p 148 through p 169 in the NMR. Also see also this online version (click "see the poems" once you've fully experienced the hyperactive info page)
  4. Williams: excerpt from Selected Shorter Poems, 1950-70 (handout)
  5. Napier: The Shredder
  6. Jörg Piringer: Download Nam Shub Mini and try it out
  • Writing for next week:
  1. Invent a process to either generate a piece of writing or to edit/remix a "finished" work into a new form. The process can be programmatic or not. It should involve the element of surprise, meaning its outcome should not be easily predictable (by you).
  2. Use the process to create a piece this week. The piece might consist of two or more texts presented together, or just one. It is your choice whether/how to step in afterward and shape the results of your process "by hand."

Lab: JavaScript links

  1. W3Schools JS tutorials
  2. jQuery
  3. Class example files

Week 7 (Mar 15): An Incomplete Map of Itself

Music: Jacob Kirkegaard, Eldfjall

In-class Tabs

  1. William Gibson's Agrippa (a book of the dead)
  2. Magritte's painting The Lovers
  3. Captchart
  4. Katamari Hack

Events this week

  1. Mon-Thurs: International Writers Project festival. Lots of writers/performers here from Cambodia and Vietnam. The IWP at Brown provides institutional, intellectual, artistic and social support to writers who face personal danger and threats to their livelihood in nations throughout the world. IWP info
  2. Tues 2pm: Mining Million Book Collections lecture. David Smith, CS Dept, UMass/Amherst. Bopp Room, Hay Library.

Assignment 6: Cartography

  • Reading/watching for next week:
  1. Goulish: "The Unlearnable", p 51-52 in 39 Microlectures
  2. Borges: The Library of Babel (PDF)
  3. TED talk: Deb Roy, The Birth of a Word
  4. Listening Post video documentation
  5. Kenneth Goldsmith: Soliloquy (just enough of it to get a sense of the whole, or as much as you feel like reading)
  6. Language Removal Services
  • Writing for next week:
  1. Create a map.

Lab: JavaScript links (same as weeks above)

  1. Class example files
  2. jQuery
  3. Firebug

Week 8 (Mar 22): The Macrocosmic and Microcosmic, or Pointilism

Music: Punkt feat. Sidsel Endresen

In class reading: Bergvall, "In Situ" from Fig (handout)

In class tabs

  1. http://www.english-for-students.com/punct.html
  2. Victor Borge: Phonetic Pronunciation

Lit Arts events this week

Most of these are part of the New Directions 75 festival

  1. Tues 7:30pm in McCormack: Readings by Thalia Field, Rosmarie Waldrop, Jeffrey Yang and from the work of John Hawkes by Robert Coover. Introduced by Forrest Gander.
  2. (bonus non-ND event) Tues 10-11pm at Local 121 (121 Washington st): couscous. poetry 10-11pm with mairéad byrne, stephanie barber (films), murphy chang + rachel jendrzejewski, samantha gorman, adam robinson, and ric royer, music 9-10pm and from 11pm with mark milloff, jonathan bonner, and laila aukee
  3. Wed 2pm in McC: A Conversation about the Art and Practice of Publishing with the Editors of New Directions: Michael Barron, Laurie Callahan, Barbara Epler, Peggy Fox, Tom Roberge, Declan Spring and Jeffrey Yang
  4. Wed 4pm in Martinos Auditorium, Granoff: Editors Speak About Favorite Projects, plus Video and Sound Clips by New Directions Authors Mixed by DJ Angle. Michael Barron, Laurie Callahan, Barbara Epler, Peggy Fox, Tom Roberge, Declan Spring and Jeffrey Yang; joined by writer/editor/translator Eliot Weinberger and the press' biographer, Ian MacNiven
  5. Wed 8pm in Martinos Auditorium, Granoff: Holy Spirits show

Assignment 7: Space Travel

  • Reading/watching for next class:
  1. Goulish: "What is the World?", p 110-111 in 39 Microlectures
  2. Bill Viola: "Will There Be Condominiums in Data Space?" p 464-470 in NMR
  3. Judd Morrissey: The Last Performance.org. (this site is gigantic; please spend at 30-40 minutes reading it, exploring different sections and seeing how they fit together)
  4. Perec: "Space" from Species of Spaces (handout) (there are extra copies of these readings in the course box at Lit Arts)
  5. Bök: selections from Crystallography (handout)
  • Writing for next class:
  1. Create a work of writing which works on/with more than one level of scale. Consider extending your map project into another dimension, or start anew if you'd prefer.

Lab tabs

  1. Info on HTML forms, checkboxes, etc.
  2. Processing: millis(), arrays, hashmaps, proHTML library
  3. Fibonacci sequence, pineapple
  4. John Cayley's Suflosi Grammar
  5. jQuery unbind
  6. Inform (interactive fiction language), Dungeons & Dragons

(spring break)

Week 9 (Apr 5): Online / On time / Offline / Off time


  1. Beach Boys: Smiley Smile
  2. Atlas Sound: Weekend EP (free download)

In-class Tabs

  1. The Books: Smells Like Content


  1. Thurs 7:30pm: Archive & the Ephemeral public conversation. In the Granoff auditorium.
  2. Friday-Saturday (many events): MCM@50. A major celebratory symposium for the MCM department. Lots of fascinating, very accomplished people coming to town.
  3. All weekend (many events): Oneir0nautics. An evolving interdisciplinary community-collaborative project exploring dreams and their influence on everyday life.

Assignment 8: Time Divisions and Revisions (which a minute will reverse)

  • Reading/viewing for next week:
  1. Goulish: "Nancarrow x 3", p 115-116 in 39 Microlectures
  2. McCloud: "Time Frames", p 712-735 in the NMR
  3. Borges: "The Garden of Forking Paths", p30-34 in the NMR
  4. Coover: "The Babysitter" (PDF)
  5. Samantha Gorman: Completely Automated
  6. Daniel Howe & Aya Karpinska: No Time Machine
  • Writing for next week:
  1. Create a project involving divisions of time. Explore the weaving and complicating of time in the content of the work and your process of writing it.
  • bonus viewing:
  1. http://www.youtube.com/watch?v=8ZQ4VmicDeM

Week 10 (Apr 12): The Web as a Platform for Provocation

Music: Robert Ashley, Ryoji Ikeda

In-class tabs

  1. Judd Morrissey: The Jew's Daughter
  2. Quantum mechanics and the double slit experiment
  3. Kelly Dobson: ScreamBody
  4. Benefits of Yoga Laughter

Events this week

  1. Tues 6:30: RoseLee Goldberg's Curating the Future: Performa Commissions talk. Granoff 4th floor. More info
  2. Thurs 7:30pm: Robert Ashley in a solo performance of scenes from two of his operas: Concrete and Atalanta (Acts of God). In Martinos Auditorium, Granoff. Robert Ashley is a prolific composer and writer, whose operas have been described by the Los Angeles Times as "so vast in their vision that they are comparable only to Wagner's Ring cycle or Stockhausen's seven-evening Licht cycle. In form and content, in musical, vocal, literary and media technique, they are are, however, comparable to nothing else."

Assignment 9: Alterity

  • Reading/viewing for next week:
  1. Goulish: "Women and Directing", 77-85 in 39 Microlectures
  2. Berners-Lee et al: "The World-Wide Web", p 791-797 in the NMR
  3. Several pages of posts on http://karibaily.tumblr.com/
  4. Several pages of posts on http://nastynets.com/
  5. http://wwwwwwwww.jodi.org/ (explore; if you accidentally download files, be careful about running them)
  6. Salon.com article on Netochka Nezvanova, and her response
  • Writing for next week:
  1. Create writing indirectly: writing which is not written by you. Possibilities for this: post somewhere on the web and gather replies, email people/entities and use the responses you receive, write code to gather dynamic material you cannot predict.
  2. Process/edit the writing, or don't, as you see fit. (You still must put it into some form to send me or show in class, if only a text file.)

Week 11 (Apr 19): Data Recovery

Music: Word and Number

In-class Tabs

  1. Mark Baumer
  2. Best Friends
  3. Sources of text remixing: WC and Science & Society Review

Lit Arts events

  • Mon & Tues: Lit Arts honors readings/presentations - schedule
  • Tues 7:30, McC: MFA reading, Mark Baumber
  • Fri 7:30, McC: MFA reading, Ian Hatcher & Micaela Morrissette
  • Sat 7:30, McC: MFA reading, Karen Lepri & Ottessa Moshfegh
  • Sun 7:30, McC: MFA reading, Rachel Cole & Aaron Kovalchik
  • (continued next week...)

Assignment 0: Data Recovery

  • Please catch up on any readings/assignments you haven't finished, and think about your plans for the final class reading. We'll talk about these in class next week.

Week 12 (Apr 26): Electronic Devices as Pets or Wild Animals

Events this week

  • Mon & Tues: Lit Arts honors readings/presentations - schedule
  • Tues 7:30, McC: MFA reading, Darren Angle & Amish Trivedi
  • Wed 7:30, McC: MFA reading, Andrew Bourne & Dongqiao Li
  • Wed, 6pm: Watts Pecha Kucha: The Book in My Life. A wide variety of practitioners and students reveal their thoughts on "The Book in My Life" in a series of Pecha Kucha-style presentations. 20 slides, 20 seconds per slide - the clock is ticking. Featuring Prof. John Cayley. John Carter Brown Library. Pizza will be served.
  • Thurs & Fri: Lit Arts honors readings/presentations - schedule. (Ben Nicholson's performance on Fri is especially relevant to our interests: highly rec'd)

Week 13 (May 3): The Singularity

Music: Terry Riley's Rainbow in Curved Air. Also Steve Reich's Music for 18 Musicians during list-making

In-class Tabs

Lit Arts events this week

  • Tues & Wed: Keithstrasse, Celebrating Keith Waldrop. Many events (lots of readings by amazing people). More info

Week 14 (May 10): Writing Digital Media Readings

General info to tell other people:

All are invited to McCormack Theater (70 Brown St, entrance in Fones Alley) this week for two nights of final readings, performances, and presentations by Brown University Literary Arts e-writing students:

Tuesday, May 10th, 7:30pm
John Cayley's Writing Material Differences and Cave Writing classes
Featuring work by Chris Collins, Nicole Dupuis, Angela Ferraiolo, Michael Frauenhofer, Ben Nicholson, Shoma Nishikawa, Louisa Paine, Jeffrey Pfau, Douglas Poole, Jasleen Salwan, Dash Spiegelman, Alexander Vidor, and Rebecca Willner

Wednesday, May 11th, 7:30pm
Ian Hatcher's Electronic Writing II class
Featuring work by Ruth Chung, Zach Davis, Fraser Evans, Erik Font, Jelena Jelusic, Seth Kleinschmidt, Charles Lee, John Lim, Chris Novello, Shiman Shan, Leslie Shen, Dash Spiegelman, Sylvia Tomayko-Peters, Tim White, and Tacy Zysk

Behind the scenes:

Theater will be open at 5:30pm. Please come then, and be on time so we can determine final order, talk about strategy, and take care of last-minute technical complications.


Brown Writing Digital Media wiki
Brown Literary Arts events
Compendiums and Organizations
Related Courses at Brown
Past Iterations of this Course
Tutorials and Software
  • W3Schools: Excellent step-by-step tutorials on HTML, CSS, JS, jQuery, and so on.
  • jQuery: An indispensable library which makes writing JS easier and more intuitive.
  • Processing.js: A JS-based in-progress version of Processing (see below).
  • Processing: Open source programming language and environment for creating images, animations, and interactions.
  • RiTa: A Java/Processing library for playing with generative literature.
  • Nam Shub: Text processor and performance system.
  • Audacity: A free/open source audio editor.
  • Pure Data: A free/open source realtime routing system for sound and other data.

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