Digital London 2016

I was invited to talk about my work to the students on the Digital London postgraduate module at the University of Westminster, by author and lecturer Rachel Lichtenstein.

I began the talk by looking at how the digital created new kinds of physical social and public space. My talk needed a starting point, so I traced the idea of ‘digital london’ back to Cyberia, which in 1994 was the UK’s (and possibly the world’s) first internet cafe. In 1995, my first short story was published in Elaine Palmer’s Technopagan anthology—which launched at Cyberia (where else?), which by then had moved to Golden Square). Shifting forward to the turn of the century I discussed my 2003 novel Foxy-T (Faber and Faber), which is set in the East End of London, in a fictional version of what was by then the globally ubiquitous ‘internet shop’. In this case an internet shop on Whitechapel’s Cannon Street Road, London E1.

I then presented three case studies of the following of my digital literature projects:

Ivy4evr — an interactive SMS drama for mobile phones with Blast Theory for Channel 4, broadcast in 2010.

Missorts — a permanent GPS-triggered soundwork for the city of Bristol produced by Situations for Bristol City Council, launched 2012. I covered this project in most detail as the Westminster students were currently developing their own GPS-triggered audio app. We looked at certain things that I had learned during the production and testing of the Missorts app, quirks of GPS coverage and location, aspects of interaction design that might help users learn to operate the app in situ, etc. etc.

Shackleton’s Man Goes South — my most recent novel, published by the Science Museum in 2013, using an innovative online and on-gallery digital publishing model.

I drew out and elaborated the following lessons or opportunities that had been learned during the making of these projects.

Lesson 1: Don’t make assumptions about your audience — research them.

Lesson 2: Think beyond the digital object itself.

Lesson 3: Don’t wait, collaborate!

This deck does not include my notes, but if you'd like me to come and give this or a similar talk at your institution, do please get in touch.

For more information see my website http://pieceofpaperpress.com/

To sign up for information and invites to book launches and events see https://tinyletter.com/Tony_White

Transcript

1. @tony_white_ Digital Literature University of Westminster, 29 February 2016 My first short story was published in this collection in 1995. The launch was held at …
2. @tony_white_ … Cyberia, in London, the world’s first internet cafe!
3. @tony_white_
4. Three projects, three lessons. Ivy4evr — interactive drama for mobile phones written for Blast Theory and Channel 4 Missorts — permanent GPS-triggered sound- work for the city of Bristol Shackleton’s Man Goes South — my latest novel published by the Science Museum @tony_white_
5. www.ivy4evr.co.uk - See also www.blasttheory.co.uk @tony_white_
6. @tony_white_
7. @tony_white_
8. @tony_white_
9. @tony_white_
10. @tony_white_ Lesson 1: Don’t make assumptions about your audience — research them. What technology do they use or have access to? Are there existing networks on which you can hitch a ride? Are there existing behaviours that you can use or amplify? What can you learn when the work goes live?
11. © 2012 Max McClure courtesy Situations @tony_white_
12. @tony_white_
13. www.missorts.com @tony_white_
14. @tony_white_
15. Sara Bowler, Holly Corfield-Carr, Thomas Darby, Jack Ewing, Katrina Plumb, Jess Rotas, Hannah Still, Helen Thornhill, Isabel de Vasconcellos and Sacha Waldron © 2012 Max McClure, courtesy Situations www.missorts.com @tony_white_
16. www.missorts.com http://missorts.com/ @tony_white_
17. www.missorts.com @tony_white_
18. @tony_white_
19. Lesson 2: Think beyond the digital object itself. What kinds of interaction are possible, and how might interaction design enhance the reader’s or the audience’s experiences. How is the experience of the work affected by the world outside—whether social relations, movements of GPS satellites, noise pollution or the physical landscape—and vice versa? How will the work be marketed and supported throughout its duration? @tony_white_
20. @tony_white_
21. @tony_white_
22. @tony_white_
23. http://bit.ly/ShMGSth @tony_white_
24. Lesson 3: Don’t wait, collaborate! Be active and don’t wait until your next or first novel is coming out before thinking about digital possibilities. Find ways to create ‘rapid prototypes’. Can you collaborate with people or organisations outside of the traditional booktrade? If so what can they offer: footfall, data? What can you offer them? As the physical square-footage of the book trade diminishes, look for new ways to go where readers are. @tony_white_
25. Lesson 3: Don’t wait, collaborate! Be active and don’t wait until your next or first novel is coming out before thinking about digital possibilities. Find ways to create ‘rapid prototypes’. Can you collaborate with people or organisations outside of the traditional booktrade? If so what can they offer: footfall, data? What can you offer them? As the physical square-footage of the book trade diminishes, look for new ways to go where readers are. Lesson 2: Think beyond the digital object itself. What kinds of interaction are possible, and how might interaction design enhance the reader’s or the audience’s experiences of your work? How is the experience of your work affected by the world outside—whether social relations, GPS satellites, noise pollution or the physical landscape—and vice versa? How will your work be marketed and supported throughout its duration? Lesson 1: Don’t make assumptions about your audience — research them. What technology do they use or have access to? Are there existing networks on which you can hitch a ride? Are there existing behaviours that you can use or amplify? What can you learn when your work goes live? @tony_white_
26. Thank you http://pieceofpaperpress.com www.missorts.com http://bit.ly/ShMGSth @tony_white_