Hyperrhiz Call: Netprov Special Issue (12/19/13)
2013 witnessed tremors in the construction of the Internet as a truth network, as the site of real exchanges with the verified friends and loved ones of Facebook. The Internet has once again proven itself a vibrant space for performances, for fictions posted as reality harkening back to age when a set of wild travels were published under the name Lemuel Gulliver.
The year began with Manti Teo’s terminally ill, fictional girlfriend (admittedly, not created as a literary exercise), and saw Horse_ebooks put to pasture when it was revealed to be performance art. In the academic world, the performance protest movement Occupy MLA removed its masks, and Digital Humanities tweeter Mark Sample staged his own hipster apocalypse (making the Chronicle of Higher Education one of the chief venues for Twitter performance). In the world of popular entertainment, an obscure poet hijacked the Twitter account of Reality TV star Spencer Pratt to play poetry games, and later Spencer and his wife Heidi Montag launched a Reality series complete with website, fans, and haters, but no show. While Lady Gaga continued to stage her life as ArtPop, the financial world was put into tumult by rampant Speculat1on. On the East Coast, Troy, New York was hit with the mysterious sootfall, Los Angeles was devastated by a fictional flood, and the Center for Twitzease Control monitored the infectious 140-character epidemics spreading across social networks via mobile phone towers.
Creative worksof artistic online performance are examples of netprov: online improvisational narrative, a concept put forth by Rob Wittig and Mark C. Marino. In order to develop critical discourse on this genre, the collaborators invite submission to a special issue of the online journal Hyperrhiz. The issue will include critical examinations of netprovs, wherever they live on social media (Twitter, FaceBook, Pinterest), whether performed by humans or generated by bots or a cyborg combination of the two. Of particular interest are essays that examine netprov in the context of electronic literature and performance studies in the context of identity representation. Other topics of interest include poetics, readings of the code that runs the projects, and political implications of such works.
Creative submissions of netprovs are also welcome. Artistic works must include documentation, a brief description (500-words) and exemplary transcripts when available. Also, artists are encouraged to share any code used in their projects.
Hyperrhiz is a peer-reviewed online journal specializing in new media criticism and net art. Hyperrhiz is published yearly in conjunction with its parent journal Rhizomes: Cultural Studies in Emerging Knowledge. For submission criteria, please read Submit Work to Hyperrhiz.
Deadline for 250-word Abstract November 30, essays (2000-4000 words) December 19th
Submit works to markcmarino at g-mail dot com.