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[…]end of a field of serious play for the theory and practice of literature — refers metonymically to computation and all its infrastructure: hardware, software, interface & interaction design, networking, and today also, since at least the mid 2000s, to a particular de facto historically-created world built from all of this infrastructure within which most of us now ‘live’ for a considerable portion of our lives, our cultural and, predominantly, our commercially implicated, transactional lives. The existence of a particular world, or, to use a less charitable if more accurately constrained term, a regime of computation is worth recalling as […]
[…]Who for whom about what in which “What does it matter who is speaking”, someone said. [Comment: The text begins by questioning the relation between language and self. If the human speaker of language does not matter, does it matter when the generator becomes the speaker? And in what sense can the generator speak? This sentence, which was originally written by Samuel Beckett (85), has been repeatedly used for theorizing about the problems of authorship, that is, of attributing origin to a particular utterance. And yet, even when used to claim the irrelevance of a personal self as the subject […]
[…]by the lack of academic collaboration between Arabic e-lit scholars and world e-lit scholars to come up with defined references for each term. The ELO’s definition of e-lit, “works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer,” to the best of my knowledge, is not known or used by any other Arab scholar at the time that I write this essay. Moreover, the usage and popularity of digital literary terms differs from one culture to another. In the Arabic digital literary culture, hypertextual and interactive literature are two famous […]
[…]is its relationship to this thing we call ‘reality’” (x), even if, as Luhmann notes, “[r]ealityis what one does not perceive when one perceives it” (qtd. In Wolfe, 39). A focus on place, local or distant, is also fundamental to ecocritical discourse—from Aldo Leopold’s “Land Ethic” (the final piece of A Sand County Almanac (1949)), to Marjory Stoneman Douglas’s The Everglades: Rivers of Grass (1947), to Rachel Carson’s Silent Spring (1962), to Timothy Beatley and Kristy Manning’s The Ecology of Place (1997), etc. I, too, am interested in thinking about an ecological poetics that is not defined by environmental activism […]
[…]network of electronic communications, “flaunting”, as Brendan Lynch has observed, “the latest technology in one of the most deprived corners of Europe” (Lynch n. pag.). The station’s location in Connemara was chosen due to a combination of geographical and socioeconomic advantage: 18 years prior to Alcock and Brown’s endeavor, Marconi had successfully transmitted the first wireless message across the Atlantic, between Poldhu in Cornwall, and Signal Hill, St. John’s, Newfoundland in Canada. It was due to financial challenges and foreseen opportunities that Marconi subsequently opened the Clifden station in 1907. Several other stations were built along Ireland’s western coast. The […]
[…]work across multiple disciplinary fields, with artistic praxis forming an especially radiant attractor for many important discussions and interventions. As both a scholar and a practitioner in the field of electronic literature, I have found the Anthropocene’s posited dawn of a new geological epoch, inscribed by human activity, to be a catalyst for much of my recent work. Given the discourse around the Anthropocene is often centered on topics of pollution, toxicity, and mass extinction, I have sought to explore what life in a deteriorating climate and ecology might do to the ways in which we go about reading existing […]
[…]a practice that grew to prominence in the early part of the Twentieth Century. The idea was to examine the text completely as a kind of self-contained world of meaning, attending to its signifying practices in as much as they spoke back to the object itself. However, close reading, especially under the New Critics developed over time a rather poor reputation. The practice in time developed a reputation for being a kind of apolitical reading, eschewing interpretative practices that referred to the political times. Close reading was seen as a safe reading practice of the McCarthy Era, providing scholars with […]
[…]yet not for the sake of producing Celestial Emporium of Benevolent Knowledge, but rather to test the operative model that would help to understand better a phenomenon that has been undergoing dynamic changes ever since Christopher Strachey got to play with the literary conventions of a love letter and the first programmable machines (in this case the first commercial computer, Ferranti Mark I) when in 1952 he designed an algorithm to automatically generate random love letters out of the words evocative of romantic affection. The process could be likened to a chain reaction or fermentation – depending on the point […]
[…]precritical activity” (3) of data collection actually form “extended historical argument[s]” (3) about the data and research process. As the mainstream attitude both in academic and non-academic settings underestimates the value and complexity of public databases, this conception leads to a lack of apparatus in regards to the reception as well. As Burdick et al. argue: “aside from the struggle for resources, there is an urgent need for a critical language to describe digital projects and for common – yet flexible – standards for evaluating animation, navigation, information architecture, and other features of born-digital projects and platforms” (114). Scholars in […]
[…]a way that I couldn’t on the page. On the page, the consonants feel more like marionettes tied to and controlled by the vowels. It’s more of a diagram about control. And you’re right, the words “segregation” and “minority” are no accident. Many of Dennis’s poems operate on a number of levels. This poem is about the alphabet, literally personifying letters and the experience of writing and reading with dyslexia. And also it’s about societal and historical domination and power. In the animation, the strings that connect the vowels to the consonants operate more like chains and/or ropes. It’s both […]