[…]in Canada were never as disjointed as they may seem. While “CanLit” has been largely specific to literary communities and often dominated by print publishing, we believe strongly that Canadian artists, scholars, and artist-researchers can continue on the path of embracing mediated language arts of all kinds as valid forms of the literary and of […]
[…]long been preoccupied with a self-awareness of his own voice and scrupulous attempts to separate and compartmentalise language and power. DOABY (2007) represents his most deliberate attempt to confront this issue. In Self-Aware Self-Censorship As Form, I explored ‘glut’ censorship in Coetzee’s novel and proposed that a digital version of DOABY could resolve the problems raised in the print text. I will summarise those problems here. DOABY is an Australian print novel with a unique format in that each page is split into three. The top section contains a series of essays on various topics, titled ‘Strong Opinions’. The middle […]
[…]electronic book review rethinks the dissemination of these works, reimagining academic publication and research in digital contexts. Indeed, such efforts have been one of the core goals of ebr since its inception in 1995 alongside the public introduction of the Internet. Featuring essays, maker projects, a roundtable conversation, and an interview with a feminist media collective, we seek to ask and also begin to answer: how may digital platforms–especially through publicly available open-access publishing venues–better mobilize research-creation works and increase transparency of their production processes? This double issue was made possible through generous funding by the Social Sciences and Humanities […]
[…]online open for viewing even by nonparticipants. That wider audience also, we believe, led people to comment cautiously. Still caution plays a useful role, since it demands participants ensure they post what they mean, drawing forth a more carefully wrought and more substantive form of participation. Of course, the prospect of republication in the renowned electronic book review calls forth even more thoughtful posts in the […]
[…]a contact with the real, whereas Sondheim wishes to remain “teetering” at the limit, falling into and always falling short of the break? Maria Damon’s succinct preface admirably captures as much as one can of this book designed to thwart any summary treatment, emphasizing the contrariety of the logical alongside the affective, the raucous creative diversity of discourses figured as islands disguising an intuitive but unseen underwater connection. It’s a passing mention but still a miscalculation, however, to choose the word “madness” as exemplary of Sondheim’s compulsive stuttering. Madness for Sondheim would be the easy way out, a blanket excuse […]
[…]really writing about themselves. That’s my theory. And some more than others, you know! [laughs] For example: every film made by a man is really about that man. Not to be all feminist about it, but it’s true! [laughs] A lot of fictionalized accounts are actually just about that person. That’s what you know best, so you write about it. So my characters may or may not have some resemblance to some stuff that’s happened in my life. I can neither confirm nor deny. You might write about something that takes place in a different world or different time, but […]
Jean Sramek had a childhood dream: to be a stand-up comedian. It’s amazing how close she’s come to the deconstructed version of that career, without actually having it. A reluctant college graduate and enthusiastic Minnesota native, she’s written scripts and lyrics for the stage, radio and screen. She has also produced and directed all manner of weird theater projects that are hard to explain unless you were in the audience, and even if you were, you probably still have […]
[…]Part of what is so satisfying to me about Netprov is that people find my jokes funny. [laughs] And I find other Netprover’s jokes funny. I wouldn’t call our shared sensibility “academic humor,” per se, but it tends toward it. A lot of our jokes have to do with things that we’ve read, or are thinking about, or silly technical things or technical trends. In that respect I think it’s very community specific. On the other hand, I have always been somebody who’s socially very self conscious in groups. I am less so when there is some structuring principle around […]
[…]Rettberg In terms of the evolution of the field of electronic literature: you, Mark [Marino], and I, and many many other people, have now taught electronic literature classes, and most of them include some kind of netprov or collective, locative writing project, some networked way of writing together. I would also go back to platforms. For all that’s good and bad about social networks, they really are a dynamic form of social — and antisocial [laughs] — but social writing. The idea of writing in a discursive environment is consistent with things that have been going on in culture. I’m […]
[…]with computers to begin with, was the opportunity to play a computer game that I could write to and that would write back to me. Jill: A way you can explore stories, discover things. I love those hint books. Did you have those at all when you got stuck and you couldn’t figure out how to get through the twisty little passages or whatever? Scott: Didn’t have those. But we did have some grid paper where we would actually draw out the maps of the dungeons and try to figure out where we were and where the Hall of the […]