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	<title>Comments on: C&amp;W 08:  Bolter Keynote</title>
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	<link>http://gcritel.wordpress.com/2008/05/23/cw-08-bolter-keynote/</link>
	<description>thinking, writing, teaching, listening, talking, reading</description>
	<lastBuildDate>Sun, 25 May 2008 13:20:48 +0000</lastBuildDate>
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		<title>By: werguy</title>
		<link>http://gcritel.wordpress.com/2008/05/23/cw-08-bolter-keynote/#comment-15</link>
		<dc:creator>werguy</dc:creator>
		<pubDate>Sun, 25 May 2008 13:20:48 +0000</pubDate>
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		<description>Adding to section (2), para 2:

Forgot to write this part: If we need a rice bowl to protect, it ought to be RHETORIC, which is the whole point behind writing from its very inception millennia ago.</description>
		<content:encoded><![CDATA[<p>Adding to section (2), para 2:</p>
<p>Forgot to write this part: If we need a rice bowl to protect, it ought to be RHETORIC, which is the whole point behind writing from its very inception millennia ago.</p>
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		<title>By: werguy</title>
		<link>http://gcritel.wordpress.com/2008/05/23/cw-08-bolter-keynote/#comment-14</link>
		<dc:creator>werguy</dc:creator>
		<pubDate>Sun, 25 May 2008 13:17:22 +0000</pubDate>
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		<description>Gah! I wish I had been there for this panel!

This plays right into my existing and continuing research, and I&#039;ve cited Bolter all over the place.

1) The literary movement didn&#039;t /need/ to beat back the hypertext movement. The hypertext movement hasn&#039;t captured much audience because a) no one knows it exists; and b) when someone does encounter it, the hypertexts themselves are so scattered that they violate all expectations of narrative; and c) it costs too darn much to get the software to view some of the more famous hypertexts; and d) hypertexts share with other PoMo writing experiments an utter contempt for audience. In short, no one has to &quot;beat back&quot; something that no one knows about and that sucks for those few who&#039;ve heard of it.

All of which is just me whining and bitching about the ivory towerness of hypertext literature in the same way I do about PoMo lit at nearly every opportunity. If narrative isn&#039;t for the reader/hearer/viewer, it&#039;s a pointless and tragic waste of creative energy.

2) I agree with your question at the head of the post: why does this matter? I feel the same way about all the VR stuff from the nineties that I&#039;ve read. On the one hand, the more we achieve telepresence and 24/7 sensory connectivity, the less use the average person will have for writing to communicate in their everyday lives. But business, government, and academe aren&#039;t going to stop insisting on written traces, and they&#039;re the ones for whom 99% of writing gets done /now/. 

I think what&#039;s hanging up Bolter and a lot of others is the idea of WRITING as something more than a communicative technology. It&#039;s as if we must protect WRITING as some sacred space of which we are high priest(esse)s. With all due respect, bull@^*%.

The really tragic thing about a lot of the VR/AR speculation and theorization is that it misses one niggling little point that I may just have to write a paper on: /humans don&#039;t need sensory immersion to experience affective immersion/!! We have had &quot;VR&quot; since the first MUDs and MOOs. Maybe since the telephone. When humans become engaged in a communicative environment, /that is the reality they&#039;re experiencing/.</description>
		<content:encoded><![CDATA[<p>Gah! I wish I had been there for this panel!</p>
<p>This plays right into my existing and continuing research, and I&#8217;ve cited Bolter all over the place.</p>
<p>1) The literary movement didn&#8217;t /need/ to beat back the hypertext movement. The hypertext movement hasn&#8217;t captured much audience because a) no one knows it exists; and b) when someone does encounter it, the hypertexts themselves are so scattered that they violate all expectations of narrative; and c) it costs too darn much to get the software to view some of the more famous hypertexts; and d) hypertexts share with other PoMo writing experiments an utter contempt for audience. In short, no one has to &#8220;beat back&#8221; something that no one knows about and that sucks for those few who&#8217;ve heard of it.</p>
<p>All of which is just me whining and bitching about the ivory towerness of hypertext literature in the same way I do about PoMo lit at nearly every opportunity. If narrative isn&#8217;t for the reader/hearer/viewer, it&#8217;s a pointless and tragic waste of creative energy.</p>
<p>2) I agree with your question at the head of the post: why does this matter? I feel the same way about all the VR stuff from the nineties that I&#8217;ve read. On the one hand, the more we achieve telepresence and 24/7 sensory connectivity, the less use the average person will have for writing to communicate in their everyday lives. But business, government, and academe aren&#8217;t going to stop insisting on written traces, and they&#8217;re the ones for whom 99% of writing gets done /now/. </p>
<p>I think what&#8217;s hanging up Bolter and a lot of others is the idea of WRITING as something more than a communicative technology. It&#8217;s as if we must protect WRITING as some sacred space of which we are high priest(esse)s. With all due respect, bull@^*%.</p>
<p>The really tragic thing about a lot of the VR/AR speculation and theorization is that it misses one niggling little point that I may just have to write a paper on: /humans don&#8217;t need sensory immersion to experience affective immersion/!! We have had &#8220;VR&#8221; since the first MUDs and MOOs. Maybe since the telephone. When humans become engaged in a communicative environment, /that is the reality they&#8217;re experiencing/.</p>
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