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[…]in Tabbi’s paper is that: dissociating reading and writing from electronic media […] fail[s] to entertain the idea that writing produced in new media might in fact be an emerging world literature (20). Throughout my rewriting of his work, I have problematized the universality of past electronic literature practices from the perspective of (dis)ability. Can we speak of electronic literature as world literature if it systematically excludes a marginalized group and prides itself on this exclusion? Can we instead consider the singularity of writing under constraint as a way to develop new practices and understand our technology better from a […]
[…]I guess, good news in the midst of all the bad, perhaps. And by about June or so, a term started to come into popular usage, which is doomscrolling. And it turns out that term had been around for a while, but maybe wasn’t very well known. And then it started getting tossed around to describe this condition, because not only would I be looking to read the news, but I’d almost find myself feeling stuck reading the news. And I would do it late at night when I wanted to be sleeping, and then I’d wake up early in […]
[…]angst of the past is tangibly seen. But, as we move forward, naturalise the digital, and begin to form collaborations of our own, in the Indian context, we could see more experimentations akin to our understanding of the Postmodern which detaches itself from the spectre of print culture. THE ANXIETY OF PRINT CS Lewis, in his Preface to Paradise Lost (1942) talks in detail about Milton’s pursuit to recreate the oral tradition in a piece of paper. The greatest challenge for Milton, according to Lewis, was to give a sense of the performative of the bygone tradition while reading a […]
[…]the same embodied space as us, the abundance of first-person audio/visual documentation, [and] the pressure on authors to self-mediate and self-promote their work through their individual online identities […] have all changed the nature of authorial presence.” Roggenbuck is acutely aware of this changed nature, noting that “thanks to blogging, I was able to know that there are people out there who read my poems and specifically appreciate the misspellings. […] The reason most poetry is boring is because poets are afraid to distinguish themselves” (“BE YOURSLEF”). Both through glitchy video remixes of his own and others’ content and through […]
[…]but I like asking it. And not only did I like asking that question (“Where does it [creativity] come from?”) for myself, but I started engaging an elaborate call-and-response meta-remix jam session with the GPT-2 and 3 language models prompting and counter-prompting a dialogue about what it means to be creative across the human-nonhuman spectrum. I wanted to dig in deeper to these questions. I wanted to see what the text generators had to say about creativity, psychic automatism, cosmotechnics, and a wide range of other conceptual data points that were influencing my digital artmaking and my intuitive thought process […]
[…]a set, props, wardrobe, make-up, camera, lighting or even models. How are real human models going to compete with the perfection of A.I.?” Much ink has already been spilled on the disruptive nature of AI technology on the arts, and I predict a bumper crop of handwringing editorials in the year to come. My project was more personal than philosophical or analytical in nature — to spend a month making AI art. To understand it as an observational participant. To experience it firsthand and report back. Here’s what I found. Midjourney is a dazzling, dizzying, exciting tool to play with. […]
[…]as individual paths of inquiry themselves are mapped and studied and projected in the form of autocompletions, recommendations, and the occult alterations of your feed, who even needs to seek at all? If you fail to click, comment, or even pause on the prescribed information, this is recorded and adjustments are made, in the hopes that thinking itself is obviated by fulfillment. Soon, even our thoughts will steer the guided tour of our customized machine generated reality. Following the industrialization of culture and our consequent de-skilling, we will be subject to “cognitive and affective proletarianization” (Stiegler, For a New, 45). […]
[…]craze that maintained that walking backwards is much more healthy than walking forward. I felt comfortable with that being on Twitter, because it seemed sort of self evidently silly. Are those in a different category? Alex Mitchell I guess, partly, it’s: what is the topic of the Netprov? But the platforms are public to varying degrees. For me, that’s one of the things that sets the tone of the piece. I know, it’s virtual, but where is it? Some of the ones that I was involved in were on Reddit, which is basically: anyone can come and look at your […]
[…]University. Founded in Shanghai at the end of 2013, the new institution undertakes the mission to guide the online literary field through its development. 4. The Internet Literature University Toward the end of 2013, the Shanghai Institute of Visual Arts and Shanda Literature announced that a BA programme in the History of Internet Literature (Wangluo wenxue shi zhuanye网络文学史专业) would be offered starting from the following academic year. The BA programme included courses on literature and art theory studies, story-writing, TV drama, screen writing, publishing and film adapting, and copyright management and marketing. Only a few months after the announcement-with the […]
[…]like the EQRH. The Eastgate Quarterly Review of Hypertext was a literary review by “’[s]erious hypertext’ publisher Eastgate Systems.” Founded in 1982, Eastgate Systems intended to create its niche in a publishing world evolving and contending with new digital platforms by modeling itself as a “site of experimentation and innovation.” It should be noted that the only other historical or critical scholarly work on the EQRH published to date is Astrid Ensslin’s 2018 Electronic Literature Organization conference paper, later published in the conference proceedings Attention à la marche !/Mind the Gap! (Gervais & Marcotte 2020). In this earlier work, “’Completing […]