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According to Janez Strehovec, e-literature operates on the model of post-Fordist immaterial production. He argues it’s precisely because “a part of contemporary art (especially the new media one and e-literature) is crossing into the service sector of (new) networked economy in the post-industrial, information, spectacle- and software society” that e-literature needs to cultivate its own autonomous context. E-Literary World and the Service of E-Literature It often seems that autopoiesis and self-reference play a crucial role in the basic understanding of e-literature, which the established scholarship (e.g. e-literary criticism) considers first and foremost in terms of its new media specificity. This […]
Originally given as the keynote lecture at the Electronic Literature Organization conference, West Virginia University, Morgantown, WV, June 22, 2012 Disclaimer: This lecture was written after having been out of touch with the field of electronic literature as it is represented by the ELO for half a decade. The author’s work has shifted from literary studies to applied design research, and towards modes of electronic publishing where the experiment lies in production and distribution, such as in Libre Graphics and open source book sprints. Nevertheless, this might help to reframe electronic literature within larger cultural developments in writing and publishing. […]
Soon it’ll be ten years since William Pannpacker, official blogger for the Chronicle of Higher Education and commentator of the 2009 Modern Language Association’s annual convention famously proclaimed the Digital Humanities “the next big thing.” The last decade saw many gatherings, many articles written with DH in mind, many tweets – because the “big thing” also constitutes itself via small texts – and various collections of essays defining what DH is and what it is not. Notable among these is Matthew K. Gold’s 2012 Debates in the Digital Humanities whose second installment appeared in 2016. Both volumes, with 49 and […]
This essay argues for a resistance to the semantic slippage that algorithm invariably I will only be concerning myself, for the duration of this essay, with works of electronic literature and not with phenomena such as Facebook or Google in which texts are also assembled largely via algorithm. However, I think the present analysis could be expanded to account for these Internet applications. My sense of the “invariable” injection of indeterminacy is partly based on Lev Manovich’s observation, stated in “Database as Symbolic Form” and, later, in The Language of New Media, that a paradigm shift has occurred in our […]
A Preface and a Disclaimer If the first “wave” of Digital Humanities was said to have prompted a quantitative turn, e.g. the compilation and implementation of databases as well as the organization of information in elaborate arrays, then the much anticipated “second wave” is to be “qualitative, interpretive, experimental, emotive, generative in character” (Schnapp & Presner, 2009). As curator of the Brazilian Electronic Literature Collection for the ELMCIP (Electronic Literature as a Model of Creativity and Innovation in Practice) Knowledge Base, I have been asked to partake in this second wave and offer a few conclusions about Brazilian electronic literary […]
Introduction Snapchat, an app for iPhone and Android that is growing more popular across the world, especially among teens, is one of the latest iterations of vanishing text and image in the electronic world. If not quite literature—although it certainly might be by now, as e-writers turn to ever more inventive software for literary expression—it definitely represents a contemporary version of vanishing text and image. Snapchat allows users to snap a picture, send it to others, and assign a time frame for that picture to expire and no longer be visible. Typically, a picture can be viewed from one second […]
This essay is excerpted from Swanstrom’s monograph, Animal, Vegetable, Digital: Experiments in New Media Aesthetics and Environmental Poetics (under contract to be published by the University of Alabama Press). “The men of old, unlike in their simplicity to young philosophy, deemed that if they heard the truth even from “oak or rock,” it was enough for them.” —Plato “The leap from living animals to humans that speak is as large if not larger than that from the lifeless stone to the living being.” —Martin Heidegger “Today was a sunny day and I was able to sunbathe a lot… I […]
What she’s doing is, every time she works out a value for y, she is using that as her next value for x. And so on. Like a feedback. She’s feeding the solution back in the equation, and then solving it again. Iteration, you see. – Tom Stoppard, 44 [I]n order to understand geometric shapes, one must see them. It has very often been forgotten that geometry simply must have a visual component – Benoit Mandelbrot, quoted in Holte 1 Figure 1: screen shot slippingglimpse The first screen of slippingglimpse beckons “select one to start.” Select which […]
End Scene Our mission was simple: write, edit, and publish a book in three days from the floor of the Frankfurt Book Fair. It was a deliberately outlandish thing to do, setting up a booth at the largest, noisiest book expo in the world and inviting a small group of writers to sit there, talk, type, and edit a series of answers to the question “what is the future of publishing?” Dramatis personae on-site included celebrated science fiction writer and essayist Charlie Stross, publisher and Virginia Quarterly Review web editor Jane Friedman, author and entrepreneur Dan Gillmor, and novelist, essayist […]
Countdown Pynchon’s 1973 novel Gravity’s Rainbow, most of which is set in the German ‘Zone’ during and shortly after WW2, is pervaded by references to the German poet Rainer Maria Rilke. “There is a mean poem about the Leid-Stadt, by a German man named Mr. Rilke” (644) the narrator notes; evoking the Tenth Elegy of Rilke’s Duino Elegies. Strange, though, alas, the streets of Grief-City, where, in the artificiality of a drowned-out false stillness, the statue cast from the mould of emptiness bravely swaggers: the gilded noise, the flawed memorial. O, how an Angel would utterly trample their market of […]
How does the electronic literature community continue to develop? Amaranth Borsuk looks towards the print literature community, and suggests that we adopt a number of its most successful practices. This series of short interventions were made at the “Futures of Electronic Literature” discussion at the bi-annual Electronic Literature Organization conference in 2012. Titled “Electrifying Literature: Affordances and Constraints,” the conference took place at West Virginia University in Morgantown on June 20th to June 23rd. The contributors were organized by Stephanie Strickland to offer suggestions on how to improve the organization as it attempts to re-define its mission in a shifting […]
If posthumanism signals the end of a certain way of describing—or, more precisely, orienting—selfhood, then we might ask, as Ralph Waldo Emerson did at the start of his famous essay, “Experience” (that addressed, among other crucial issues, slavery), “Where do we find ourselves?” (266). To be sure, technology has already expanded ideas about seeing the human as created through evolution. Marvin Minsky argues that robots will be the next evolutionary phase; they will be our “children.”Ray Kurzweil anticipates the ethical issues of posthumanism will be worked out by machines gaining consciousness and then guiding themselves (and, presumably, us) through deeper […]
Review of Timothy Morton’s Hyperobjects: Philosophy and Ecology after the End of the World. University of Minnesota Press, 2013. The posthumanist turn in recent theory and cultural studies continues apace. Posthumanism, briefly, is in general the effort to challenge and even displace the vestiges of anthropocentrism that persist within the conceptual regimes of the human sciences. In this, it follows a series of sustained and by now familiar decenterings of certain privileged subject positions: the postcolonial decentering of a certain Western subjectivity, or the queer decentering of a certain heteronormative subjectivity, for instance. Posthumanism wishes to go further, however, and […]
Thing-power perhaps has the rhetorical advantage of calling to mind a childhood sense of the world as filled with all sorts of animate beings, some human, some not, some organic, some not. It draws attention to an efficacy of objects in excess of the human meanings, designs, or purposes they express or serve. (Bennett 20) This is an essay to be taken with a child’s, or Gilles Deleuze’s, naïveté. To those who fail to find such thinking sufficiently serious, take heed—you may well find yourself neatly aligned with The Lego Movie’s antagonist, Lord Business (Will Ferrell), who is also the […]
This essay appears previously in the proceedings of the Universities of Paris 8 conference “Translating E-Literature/Traduire la littérature numérique.” Practices and theories of translation are situated at a crucial position in the domain of the practices and theories of language. We are comfortable with distinguishing practices of language whose systematic differences allow us to say that the users of languages in which they are separately competent are, nonetheless, “mutually unintelligible” to one another, and so we may say that they are using different, distinct languages. However, certain practitioners may be proficient in any number of such languages and they may […]
John Bruni’s review raises a number of important questions about what I’d still be inclined to call an emergent and major theoretical paradigm, namely posthumanism. In Posthumanism: A Critical Analysis (Bloomsbury 2013—an updated translation of my Posthumanismus—Eine kritische Einführung, Wissenschaftliche Buchgesellschaft 2009) I argued that the best way to understand the phenomenon of posthumanism is by looking at it as a discourse (more or less in a Foucauldian sense). Everything that directly or indirectly says something about the “posthuman,” including the no-longer-quite- and the more-than-human, constitutes the disputed object of that discourse (comprising all sorts of texts, practices, subjects, institutions, […]
Fig. 1 Screenshot of the ESG MalwareTracker Worldwide Infection Map One glance at the ESG MalwareTracker (fig. 1) is enough to make one’s skin crawl. Borrowing a visual strategy from epidemiology, MalwareTracker uses a map to depict computer virus infections worldwide. The map is dotted with red insects with shiny bulbous bodies that appear to be sized in proportion to the number of infections in a location. There are only three discernible sizes, representing 11 suspected infections at the low end (Cape Verde), up to 1.7 million at the high end (the United States). Each country has just one insect […]
Despite concentrated critical analysis spanning two decades (or more, depending on who you ask), videogames still have a legitimacy problem. Critics have only in the recent past made the case for videogames as culturally legitimate pieces worthy of academic study, and predictably, the form’s previous stigmas – deserved or otherwise – have carried into the debate over its place in the art world and the academy. For example, an article on the University of Southern California’s videogame design graduate program’s recent influx of women students focuses on the benefits that this demographic shift may have vis-à-vis the ubiquitous expectation of […]
A book is a sequence of spaces. Each of these spaces is perceived at a different moment-a book is also a sequence of moments… A book is a space-time sequence. – Ulises Carrión. The New Art of Making Books Ulises Carrión, A Comparative Media Theorist On the verge of becoming a canonical figure in Mexican literature amidst the larger context of the Latin American literary scene of the second half of the 20th century, Ulises Carrión broke apart from the mainstream of literary production. Having written two novels published in the early 1970s and relocated in Europe, Carrión began a […]
The aim of this little volume is, as far as may be, to translate into verse what the lines and colours of certain chosen pictures sing in themselves; to express not so much what these pictures are to the poet, but rather what poetry they objectively incarnate. Such an attempt demands patient, continuous sight as pure as the gazer can refine it of theory, fancies, or his mere subjective enjoyment. —Michael Field (Katherine Bradley and Edith Cooper), preface to Sight and Song, 1892 After the author is gone and the page is gone, what is left but for the poet […]
Things live only on the basis of their disappearance, and, if one wishes to interpret them with entire lucidity, one must do so as a function of their disappearance. (Baudrillard, Why Hasn’t Everything Already Disappeared? 31) The use of the past tense in the central theme of this issue – “what in the world was postmodernism?” – implies that postmodernism has disappeared from the landscape of contemporary literary, critical, artistic, and philosophical practice. While previous articles in this collection chronicle the emergence of postmodernism and how it came to disappear, this article asks what we can learn from its disappearance. […]
“Getting lost” in a work of fiction is a conventional expression that speaks to the immersive power of narrative. The reader (which here will include the viewer and the player) is so moved or transported by the drama, characters and unfolding terrain that she loses herself to the physical world and perhaps cannot hear the person directly in front of her. Another sense of getting lost in a text, described by Umberto Eco in Six Walks in the Fictional Woods, is a “digressing and lingering [that] helps to enclose readers with those time-woods from which they can escape only after […]
The actual ends of ‘electronic literature’ are implied by a name that embraces its supposed means. ‘Electronic’ refers to means in a way that is well understood but promotes quite specific means as the essential attribute of a cultural phenomenon, a phenomenon that was once new, a new kind of literature, a new teleology for literary practice, an ‘end’ of literature having its own ends, the end of electronic literature in its means, misdirected ends justified by misappropriated means. This brief essay will not remain bound up within the conceptual entanglements of a name. We will move on from ‘end(s)’ […]
INTRODUCTION In his book The Interface Effect (2012), Alexander Galloway considers how interfaces are not simply tools or stable objects, but “effects” (33) of concrete material conditions, as well as “practices of mediation” (16) that reflect culture. Computational devices are thus not simply machines that emulate other media, but translation processes occurring between many layers of code. Behind the surface-level of the interface, myriads of performances take place, too small and too fast for the human eye to perceive. Articulated with these, there are layers of protocols to which these processes must comply in order to be interpreted. These protocols […]
Soaking in info, the soothing facts In just a minute we’ll get to the bottom of just about anything Anything at all (Pat Maloney, “Deaf Ear to the Ground” 2014) Introduction We live in an age of surveillance. We now blog about our lives openly. We carry around smartphones that push geospatial information about our location into the cloud. All this voluntary datafication has changed the way surveillance works so that now data can be easily captured rather than laboriously gathered. Ever since 2013 when news organizations like the Guardian began reporting on the extraordinary collection of classified […]
This experimental essai is written in performative awareness of the challenges of tone in electronic literature. It is a developing piece and will appear in writethroughs, readthroughs, playthroughs (the sous rature mark seems appropriate) elsewhere Key: electronic literature, literature, tone, print, lexia, footnote, postscript, post- literary, countertextual. Instructions for Use If you are not interested in literature (or literature), in all its guises, do not read this text. If you do, read Wallace Stevens’s ‘Thirteen Ways of Looking at a Blackbird’ first, but don’t expect poetry in what follows. Next up, read Stephanie Strickland’s ‘Writing the Virtual: Eleven Dimensions of […]
Translation and translation issues are among the most fundamental issues in any writing practice or theory and no writer can avoid addressing them. Countless theories and methods have given birth to no less countless ideas and speculations, best and worst practices, illuminatingly simple and deceivingly complex outcomes, as well as dead ends and springboards to the endless process of rereading and rewriting texts in and between all kinds of languages –and more and more also between all kinds of media, for it is now generally accepted that the whole field of adaptation also belongs to the larger field of translation […]
Chris Kraus’s After Kathy Acker is tour de force stuff. In some sense, this is to be expected. Acker led a colorful, bohemian existence before and during her reign as the enfant terrible of postmodern literature. Legendary for her “transgressive” fiction and edgy punk image, Acker was one of the few writers—and only woman writer—to achieve a degree of fame as a countercultural figure in her time. Aware of the dangers depicting such a cult figure, Kraus has written a thrilling biography that respectfully lays bare the self-mythologization and image cultivation behind what would become Kathy Acker. Neither hagiography nor […]
McElroy’s 2017 talk, Forms of Censorship; Censorship As Form, delivered at the National University of Kyiv-Mohyla Academy in Ukraine, addresses contemporary forms of censorship and how they shape contemporary literature and discourse. He identifies three forms of censorship: (i) “official acts enforced by police prohibiting the printed word or publicly… heard voice,” (ii) the “muting effects” of censorship in autocratic societies, and (iii) the “glut” of “lying, multiplying, derivative” efforts, “spreading without overtly meaning to conceal or prohibit or blot out.” The first form of censorship can be regarded as a more ‘traditional’ and direct type of censorship, while the […]
1. Introduction We meet computer-based translation online on a daily basis, and while it often is helpful when trying to read a text on foreign language, we often have to read through errors and misunderstandings caused by the statistical translation algorithms. Increasingly such computer-based translation seeps into software as sloppy machine translation of help text, interface texts and instruction manuals, especially when you get outside of those languages for which there are more automated technologies. Sloppy machine translation often reinforces the experience of navigating a somewhat deserted place without any human intervention, reading texts written by and meant for nobody, […]
How to answer the invitation by the editors of electronic book review to provide a response of some kind to ‘A Strange Metapaper on Computing Natural Language’? Should I write a report or review meant to evaluate the suitability of this ‘strange metapaper’ for publication? If so, then in which ways would my report be essentially different to those of the three reviewers whose reports already assess what Portela and da Silva call the ’embedded paper’, ‘If then or else: Who for whom about what in which’? In the version that appears on electronic book review, the authors have added […]
Brian Davis: The Fall 2017 volume of The New River features Volume Two of your three-volume work-in-progress hypertext, We Descend: Archives Pertaining to Egderus Scriptor. That’s quite a long title. What’s this project about? Bill Bly: We Descend is the short name for an ensemble of writings put together and passed along over a span of many generations. It takes the form of a three-volume hypertext novel that masquerades as a critical edition, with all the commentary, apparati, and other scholarly encrustations appertaining thereto. The overall story (and, since it’s hypertext, this story can be got at more than one […]
1.Structure of the work 1.1 Scenic configurations Created in 2015, Elpenor exists in two languages: English and French. It can be shown in installation, played in performance or published in a virtual machine. Its readable side develops on 2 separate screens. The interface is displayed on one screen, a text changing in time is on the other one. The interface consists of an image. Moving the mouse on the image changes it. The audience is immersed in a changing musical atmosphere. In the installation and performance configurations, the text is projected onto a large screen behind the small screen on […]
Part 1: Introduction In Ecological Poetics, or Wallace Stevens’s Birds (Chicago, 2020), Cary Wolfe offers a deeply probing and densely theoretical engagement with the poetry of Wallace Stevens. The thesis of this project is deceptively simple: in it, Wolfe asserts that Stevens is an ecological poet. Those familiar with Stevens’s poetry might be tempted to assume that this is because of Stevens’s affinity for describing in detail features of the natural world, including birds, landscapes both domestic and wild, and other attributes commonly associated with an environmental sensibility (however many things this capacious term might mean). Those more familiar with […]
Contemporary Arabic e-literature reproduces the ritual function of the earliest written poetry in Arabic. As a form of ritual, communication doesn’t merely communicate information about a world that already exists; communication creates our social world. As media historian James Carey describes it, communication creates, sustains, and transforms the very culture we inhabit as communicators. This function of communication as ritualized creation of social reality poses the problem of the individual. How is the individual speaker or listener, the individual voice and the individual ear, related to the community that communication builds? This question of the individual communicator within the community […]
In “Literary Texts as Cognitive Assemblages,” Katherine Hayles works to reposition our relationship with technological devices, viewing the human user not as an “autonomous being[]” who uses and develops these devices, but rather “as a component in a cognitive assemblage.” In this way, Hayles requires that we view cognition “as a spectrum rather than a single capability.” Here, Hayles intervenes in the pervasive mythos of the human as “completely autonomous” (an anthropocentric fantasy she aligns with Thoreau), and proposes instead a way of viewing digital literary production as communal, a process that sees not just activity, but creativity, distributed between […]
Introduction One might suggest a central consideration of Arabic electronic literature is the shape-shifting nature of electronic literature in general. What one sees when looking for electronic literature depends upon the perspective from which one looks. I suggest another way of considering electronic literature: by listening. This essay considers sound—especially that of the storyteller’s voice, but including environmental and mechanical sounds as well—to be at the heart of every literary experience, whether contextualized in print or pixels. Conceptual Framework This centrality of sound draws directly on the rich oral history of Arab cultures and storytellers who, using only their voices, […]
If ever there were e-literature that could fill a stadium, it’s Instagram poetry. This essay, which I presented on the panel “Toward E-Lit’s #1 Hit” at the Electronic Literature Organization 2018 conference in Montréal, responds to Matthew Kirschenbaum’s keynote at the prior year’s conference. Kirschenbaum traced the coincident development of stadium (“Prog”) Rock–specifically Electric Light Orchestra–and electronic literature, a twinning that led some of us to speculate about what might constitute massively popular e-literature, its “#1 hit.” Formally more akin to a greeting card than traditional poetry because of its sentimentality and combination of text and image, Instagram poetry is […]
Introduction 1. The Field of Digital Literature Gap No.1: Creation: From Building Interfaces to Using Existing Platforms? Gap No.2: Audience: From a Private to a Mainstream Audience? Gap No.3: Translation: from Global Digital Cultural Homogeneity to Cultural Specificities? Gap No.4: The Literary Field: From Literariness to Literary Experience? 2. The Reading Experience Gap No.5: Gestures: From Reading Texts to Interpretation through Gestures? Gap No.6: Narrative: From Telling a Story to Mixing Fiction with the Reader’s Reality? Gap No.7: The Digital Subject: From Narrative Identity to Poetic Identity? 3. Teaching and Research Gap No.8: Pedagogy: From Literacy to Digital Literacy? Gap […]
When I’m teaching students to build websites in HTML and CSS, I hear the Prince song as I tell them: “tonight we’re gonna program like it’s 1999.” HTML is a display language, not programming, but I like how the syllables of “program” scan for “party.” What is the role of hand-coded, artisanal e-literature in today’s corporate Web, where browsing is branded through intermediaries like Facebook and Google? Rather than browsing the open Web, a click inside of the Facebook app redirects within the app to a Facebook-hosted version of what one clicked on. In this sense, social media platforms are […]
Too often science fiction ignores science, or concentrates on technology: spaceships, lightsabers, lasers. Typical sci-fi alien films are usually army invasion films: uniforms, jeeps, helicopters, weapons. Yet occasionally books arise that explore unique and provocative universal potentialities, books that are provoked by scientific research and grow into speculative knowledge. Johanna Drucker’s DownDrift (2018) is such a book. Its narrator is a distributed organism, Archaea, — Archaea? Relatively few people, besides biologists, have heard of archaea. But it is genuine science, not fiction. Archaea is a third distinct branch of life, structurally-similar to bacteria but chemically-distinct, discovered in the 1970s. DownDrift’s […]
Introduction: Writing in troubled waters “Computer technology, both a product of and a tool for calculation, has submitted the written text, image processing, musical sounds and the vibrations of the human voice to the same digital writing process. The extension of its applications is so far-reaching that we may indeed feel troubled or disturbed by the continued use of the term, ‘writing’. However machines do write, and they write everything”, argues Clarisse Herrenschmidt. This article deals with the troubled feelings which we may have when confronted with a machine that writes, as referred to by Clarisse Herrenschmidt. It aims to […]
A Note from the Co-Editors: This Introduction is in dialogue—literally—with the contributors to the “Natural Media” gathering. Roll over the dialog bubbles embedded in the text to read marginal comments by Karen Bishop, Elizabeth Callaway, Alenda Chang, Zachary Horton, Diana Leong, and Joseph Tabbi. The remarks were posted in the mysterious pre-publication period after the essays had passed the initial stages of peer review. These exchanges, while somewhat informal in tone and digressive in shape, suggest how thinking-in-practice continues at different stages of the publishing process within an editorial milieu that, like so much of the infrastructure and labor supporting the […]
0. It may be true that contemporary digital culture is by now deeply rooted in everyday life of an important part of world’s population–including our habits of writing and reading. Yet digital literature remains more or less invisible to most people. Many people can feel “at home” within digital everyday life and, still, consider that literature is only something related to print books, at most digitized. Regarding this–at first sight–paradoxical situation, I will argue that its cause lies in the strong experimental impetus that digital literature has entailed since its first appearances in mid- 20th century. E-lit has kept this […]
A cosmological perspective on the numerization of human languages Contemporary western and westernized cultures have fully embraced Technic, an accomplished reality system that, as we hope to briefly show, is all-encompassing and deeply troubling. Reciprocally, the embrace has enabled Technic to bring forth a specific kind of culture that can be understood as a device whose primary aim is to perpetrate, expand and infuse its world-making powers into every realm of human existence. The embrace is a techno-serpent that bites its own tail. But what sort of techno-poison does the serpent’s bite instill? Federico Campagna (2018) has proposed to think […]
Introduction “Re:traced Threads” is a hybrid physical-digital work inspired by the discourse of computational craft. It is an installation piece that includes both procedurally-generated, ephemeral, digital artifacts of poetry (displayed on a computer monitor) and the physicality of handmade quilts (displayed on the wall). The project builds on the traditions of quilted poetry, which combines methods of applique and piecing with both written language and representative or abstract imagery, but using a digital, procedural source to guide the making. The project consists of two elements: a Twitter bot producing hypothetical works of quilted textual art, and a set of 9 […]
With a disarmingly simple gesture, a quick keyboard shortcut captures what appears on the screen, in part or in whole. Print screen: the practice is now a daily banality. It archives what scrolls on our screens and enable us to leave this momentary display of the present and its individual consultation. This way, we engage a wider reflection on the Web, its spatiotemporalities, its images and its modes of recordings. For this article, I would like to question the practice of screenshots as they are increasingly being used in digital art and literature. I will therefore analyze three different projects: […]
Joe Brainard (1942-1994) is an artist recognized by a relatively narrow circle of devotees, far less famous than some of his friends and collaborators – Andy Warhol, Frank O’Hara, and John Ashbery, though his prodigious artistic output encompasses over a thousand visual works – collages, assemblages, oil paintings, gouaches, and drawings – showing some affinity with Pop Art, Minimalism and camp, as well as more than a dozen literary volumes of what might be termed experimental life writing. Today, his best-remembered works are a series of images of Ernie Bushmiller’s Nancy cast in unlikely, humorous contexts and his 1975 book […]
Our reading project is a digital humanities effort in that it is a collaboration that employs digital computing practices in order to analyze a text from the perspective of humanistic hermeneutics…. Our intervention in this book is to show how digital-based practices can enable literary interpretation while also providing new models of how interpersonal collaboration works. — Pressman, Marino, and Douglass, Reading Project 137 In 2009, we three scholars embarked on a collaborative reading of a single work of literature. One text, three readers. The work is a piece of electronic literature that combined a one-word-at-a-time story with flashing images, […]
This article has greatly benefited from the research group “Exocanónicos: márgenes y descentramiento en la literatura en español del siglo XXI” (PID2019-104957GA-I00), part of the Spanish Programa Estatal de Generación de Conocimiento y Fortalecimiento Científico y Tecnológico de I+D+i funded by the Ministerio de Ciencia, Innovación y Universidades. Creative Making as Critical Thinking: A New Framework for the Digital Humanities At the turn of the 21st century, literary critics like Johanna Drucker (2002), Jerome McGann (2001) or even digital poet Loss Pequeño Glazier (2002) wrote about the importance of “making things” as a way of doing theoretical work. The benefits […]