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[…]is also the same in augmented reality. I’m still waiting for the optical see-through headsets to come back because I think that is where the story is. It was amazing to have computer vision based augmented reality that came on your phones, but it made every story a magic looking glass. It mediated stories in a particular way and it made you make certain kinds of stories. SR: Let’s go to that. So, you go from hypertext and pretty quickly you start to explore newer technologies, right? CF: Part of it, honestly, is the great good fortune of having These […]
[…]or principles.” To orient, then, is not merely to understand one’s position spatially, but to comprehend one’s state in terms of morals or ethics, and one’s place in a cultural sphere. By disorienting herself in the Adirondacks, Howe stripped away the cultural confinements represented by the map and thereby recreated herself anew according to the freedom inherent in the drifting snow. In the essay “Walking,” Thoreau uses the compass and the act of orientation as metaphors for personal development, with the east representing traditional education and culture and the west, i.e., the wilderness, representing exploration, personal and professional: “I believe […]
[…]and Montfort (and the MIT Press) have created a package that will serve the field for a long time to come. Certainly some readers will find themselves imagining ways of doing the book differently, but I doubt many will find much license for imagining ways of doing it better. I would be particularly remiss if I did not mention the generous and unfailingly authoritative introductions which accompany each piece, a substantial paratextual body of work in which the editors display a gift for synthesizing the disparate materials they have brought together. (Nor are they without humor: the note that accompanies […]
[…]his development of his own Arena, Forum, and Image Theatre techniques in public spaces and fora, and the dialogue that is instigated through his techniques were all reasons we felt our crude experiments could fall under the rubric of “theater.” and echoing the transitive nature of public pageants (a precursor to stage-based theater), we developed an investigatory practice that soon expanded to include scripts, costumes, staging, choreography, and even a troupe of remotely located actors. The culmination of our more script-centered experiments, Santaman’s Harvest was an ambitious attempt to provoke a deeper discussion about genetic agriculture Our interest in this […]
[…]’60s, back when poetry was still a destructive force, and when poets [Ed Sanders, Robert Lowell] and a novelist [Norman Mailer] could levitate the Pentagon). Literature on the Web comes managed from its beginning. And this for a simple reason: it cannot sufficiently distinguish itself from the vast reaches of mere content. And I have no idea what to do about it except to continue doing what I do and making occasional little roaring noises from the tenebrous depth of my Central Illinois gulag. One does not need to be a Luddite to say such things. It’s not as if […]
[…]These works – one commercial, the other as far from the commercial realm as possible, given away for free online – demonstrate that the technologies can allow writers to transform narrative itself, and further demonstrate that regardless of whether or not literary publishing survives, these works help move literature itself off the page and onto our screens. Nothing remotely servomechanistic here. White states, “The institutions of literature have always worked against the life of the work of art as much as they have worked for it.” This is absolutely true, and the corollary of that statement is this: Despite the […]
[…]Soldier, opened up a writing campaign, Write your letter now, which invited participation “[o]n the hundredth anniversary of the declaration of war, everyone in the country was invited to take a moment and write that letter.” As Pullinger relates: “The response was extraordinary. The invitation was to everyone and, indeed, all sorts of people responded: schoolchildren, pensioners, students, artists, nurses, serving members of the forces, and even the Prime Minister. Letters arrived from all over the United Kingdom and beyond, and many well-known writers and personalities contributed.” The entry requirements were simple: to say what you need to say about […]
[…]commodities promising to make life easier and healthier (but doing the opposite for many people], and the body itself more attractive” (136). This is surely academic newspeak (now sounding somewhat shopworn) “constructed” according to the most trendy canons of academic power. Behind the locutions are observations worth heeding but the language itself compromises much of the insight. To take just one example: the very title of the book, Bodies in Protest, is an imprecision dictated by current academic locutions. Although the authors say with some plausibility that environmental illnesses have produced a distinctive narrative rhetorical style in the people who […]
[…]be plural.” Perloff then draws on her knowledge of the early 20th century Russian avant-garde to complicate the question, pointing out that, in this case, a figure like Khlebnikov “descended from Mongolian Buddhists who inhabited the grassy steppes of the west bank of the Caspian sea.” Her point, one which is too often forgotten in critical practice, is simply that “the exotic is, of course, always a contested site,” and consequently will yield a greater variety of readings than most methodologies can account for. Of course, Perloff is accustomed to working zones of contestation, for contemporary American poetry, which as […]
[…]autopoiesis as self-organization out of noise. and, in this sense, i do think it’s important to open ebr (with more openness than the highly choreographed ripostes have allowed for) to more frequent and less “composed” reader responses. but for this to happen, i think we’ll need more, not less, structure, extending to the ebr environment. i’m anticipating that one of the first steps toward defining our readership will be to generate a database listing the email address of every person who has contrbuted to ebr. out of that core group (of readers who are also critical writers), we may want […]