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I’ve been reading Marjorie Perloff’s criticism, and putting it to use in my own, for many years now. She remains one of the few critics not also a poet who demonstrates a consistent understanding of the new, innovative, avant-garde (or choose your term) poetries while working from a historically solid understanding of 20th century literature, indeed the whole modernist ‘heave’ as Pound might have put it. Differentials, her new collection of essays, adds some new names and works, returns to others, and, despite containing essays written for a wide variety of occasions, seeks to make some specific arguments concerning the […]
John Zuern considers the significance of the first volume of ELO’s Electronic Literature Collection for the future of electronic arts. “What are letters?” Nell, the young heroine of Neal Stephenson’s The Diamond Age, poses this question to her older brother Harv in response to his explanation that the letters “MC” are an abbreviation for “Matter Compiler,” a household device that in the novel’s nanotech-saturated world assembles consumer goods on demand from their molecular components. The children are examining the MC’s interface, made up primarily of a scrollable menu of animated icons, “mediaglyphics,” that represent the available products. It is only […]
The Electronic Literature Collection Vol. 1 is essentially the first major anthology of contemporary digital writing, and there are few things not to appreciate about it. Sixty varied and highly refined works are included, produced by artists who have been practitioners for many years. A viewer who is not open to participating in explorative, often abstract works, may not like or be able to appreciate the content, and surely there are high-quality works that are not included (as in any literary anthology), but the material gathered here could hardly be more representative of what is happening in various digital genres […]
Adalaide Morris considers ‘tutor texts’ in the Electronic Literature Collection and, in doing so, articulates a poetics for the emerging field of e-lit. Instead of fulfilling Ted Nelson’s dream of ‘computer lib,’ the most compelling entries in the Collection emphasize the continuing necessity of writing under constraint. When the revolution turns out to be, not a liberation from a culture of control but its transformation, practices long familiar to experimental poets in print become generalized throughout new media and their panoply of ‘thinkertoys.’ “Our greatest problems,” Ted Nelson declared in his 1974 back-to-back double tract Computer Lib / Dream Machines, […]
In a reading of Christopher Nolan’s films (with and against texts by Poe, Wittgenstein, Searle, and Derrida), Walter Benn Michaels examines the autonomy of the work of art. 1 accidentally on purpose Christopher Nolan’s movie Insomnia is a remake of a Norwegian movie (directed by Erik Skjoldbjaerg) and, although the two movies are very much alike (as Nolan says, they have “almost the exact same plot and situations” [Prestigiacomo]), they differ in at least one important way. Both involve a senior detective and his junior partner being sent far north (from Sweden to Northern Norway in the original, from L.A. […]
Reading Stephanie Strickland’s V: Losing L’una/WaveSon.nets/Vniverse, Jaishree Odin explores the implications of the paradigm shift from modernity to postmodernity for our understanding of reading, writing and living. The uniqueness of a new-media work is the mobility of its elements, present as binary code in computer, yet capable of being mobilized into action through user interaction or through programming. Many new media works make full use of multiple functionalities of current software applications, bringing to light in unique ways the effect a well-designed interface can have on the meaning-making process. How do we read these digital texts that mutate with the […]
1. Introduction Every role-playing game takes place in a fictional world – a setting. In a session of play, players typically generate more information about the setting than they find in the canonical game materials. They may also create new rules or change canonical rules and setting elements to suit their tastes. Even if they use the game material without modifications, they choose how to assign importance to the various rules and setting elements. Players often extrapolate connections between small details in the provided world. This creates content that they consider implicit to the canonical game. Other groups may possess […]
1. Introduction The essence of the computer as a representational medium is procedurality – the ability of the computer to engage in arbitrary mechanical processes to which observers can ascribe meaning. Computers do, of course, participate in the production of imagery, support communication between people via the mediation of long-distance signals, control electromechanical devices, and support the storage and interlinking of large quantities of human-readable data. Many tools are available that allow users to engage these various capacities of the computer, such as image manipulation or Web page authoring, without requiring users to think procedurally. But it is precisely the […]
Editors Pat Harrigan and Noah Wardrip-Fruin introduce the essays of the “Computational Fictions” section of Second Person, focusing on the conversion of human ludic interaction into computational processes – a necessary condition for computer games. Editors’ Introduction to “Computational Fictions” What makes computer games different from other games? What makes Pong different from tennis, video poker different from traditional poker, or one of EA’s Lord of the Rings computer role-playing games different from Dungeons & Dragons? Of course, the differences are many, when considering particular games – for example, whether referees are employed, cards are used, or hard cover rulebooks […]
1. These brief notes are offered in place of something longer and more fully considered, for which there will probably never be time. These days, reflection is a luxury in most working lives, and it comes particularly dear for those who work in cybertext, which can claim neither the high-cultural entitlements of literature nor the market appeal of video games, but subsists on the margins of those worlds, among others. Most who move in this edgy space are amateurs, obsessives, and/or academics, people driven by, if not to, distraction. We are always “of two minds,” as Michael Joyce (1975) put […]