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[…]regardless of actual linguistic practices in visually perceptible graphics. The etymology of “[to]read,” in English, supports this media agnosticism, deriving (as I read it) from something like the ability to make well-advised, convincing guesses. If we are happy to say (in plain English) that reading brings language into being, then what is the point of inventing a new word for an implicated symptom? What is the point of grammalepsy? For one thing, the intimate association of reading with actual, historical writing is a problem for us. It nudges us toward a misdirection to which we have already alluded. Our civilizations […]
[…]instantiations of aesthetic forms) provide an additional constrained and patterned space for testing theories and practices of translation. Theory is also not separated from practice in their project, as translators such as Polizzotti fear. The work is closely based on particular, practical case studies. Rather, there’s a gap (in the sense of the next Electronic Literature Organization Conference and Festival, “Mind the Gap”) because this research is separated from earlier research. As might be surprising to someone reading Baetens’s riposte, this contribution to ebr overlooks significant previous research on electronic literature translation which has made many of the same points. […]
[…]he begins to reveal the language parasite through its own available contours and weaknesses: [T]he evolution of language, inextricably bound with the evolution of our consciousness as a species, has diverged from its parallel & dependent status with the human species and has become “animated,” i.e. has, much like a model of artificial intelligence, or a robot, taken on a life of its own. Furthermore, I propose that special linguistic qualities peculiar to the English language, indicate the existence of a “Governor” (in a mechanistic sense) with which the “animated” language acts on the individual, restricting the limits of conceptualization.” […]
[…]repeated it in the fall, thinking: I’m going to be in a class, with people I can show this thing to and get feedback and suggestions — so I pulled the “document-authentic” project out of the back of the clipboard and started working it up on the computer. Brian: So you didn’t really start writing We Descend until 1995? Bill: Not as such—that’s right. In late 1995, while I was still in Rob Kendall’s class, Eastgate held a conference in Boston; the guest speakers were Michael Joyce and Stuart Moulthrop, two superstars of the early hypertext movement. The last day of the […]
[…]following two cartoons revolve around less visible pollution. Figure 7 shows obsession with the latest Smartphone models, as well as a certain immodesty of individuals who cannot get enough of them. The hyperactive juggler on the right is asking, “Which new mobile should I buy?” All four devices he is holding are ringing simultaneously, and the silent, puzzled observer takes the place of the cat, who is absent from this image. The cat is also almost invisible in Figure 8, where only tail and ears are showing from underneath a heap of discarded mobile phones. Since the newest models are […]
[…]revealed that this breakdown of boundaries is less pronounced than we might imagine. Piper shows, for example, that machine classification can distinguish between fact and fiction with over 95% accuracy using just a 1,250-word stretch of text, despite poststructural pronouncements that there is no specific characteristic that could lead to such discernment. Derrida’s rejection of the “formal specificity of the literary work” was never actually accurate. As readers, though, we can often make a different type of judgement: whether a book works as a piece of fiction. Certainly, Uhlmann situates his work within that long lineage of fiction with a […]
[…]even approach GladOS’ wickedness of depriving one of cake. It was, instead, something far less grand and far more obnoxious: a Twitterbot. Its avatar was a spinning globe, decked out with a colorful array of atmospheric cummerbunds. At its center swirled a glowing red eye, watchful, serious, and full of admonishments (Figure 1). We love to hate them now—and, indeed, Twitterbots, especially in light of the 2016 election cycle, have earned our loathing—but this bot, in retrospect, made healthy contributions to the toxic micro-blogging ecosystem of 2008. Indeed, to use the contemporary parlance of the environmentally-minded, AI_AGW was a “benevolent […]
[…]a web interface, an economical visual aesthetic, texts (the monologue, the instructions, the commands), human-to-machine interaction. (Catlow) “separation/séparation” is net art, electronic literature, and was exhibited in digital art exhibitions. It has been called intermedia art, is part of a computerfine arts collection, and won a prize in the internet section of “choréographies du travail”, a dance related art exhibition. “ViolenceS”, an ongoing interactive writing experiment started in 2006, appears in several forms. The online html and php work became printed text in “Casa de Citas / House of Words” by Nilo Casares (ed.) (32-34). It is also an executable […]
[…]as a pragmatic, indigenous method of living with catastrophic change, that is, colonialism and its latest manifestation in climate change. Whether the novel and the edifice of subjectivity that it helped to erect, a unique expression of cultural memory and specific experience, will count as such necessary objects of conservation remains to be seen. In the meantime, climate fiction points to the need for new genres of humanism or posthumanist practice. Works Cited Alaimo, Stacy. Exposed: Environmental Politics and Pleasures in Posthuman Times. Minneapolis: University of Minnesota Press, 2016 Bloomberg, Michael, and Carl Pope. Climate of Hope: How Cities, Businesses, […]
[…]instead of adapting to technology, resisting digital writing constraints. Confusion and discomfort, poliphony and complexity, will eventually emerge from this critical proposition. But we do need to critically address linguistic discourses from within, based on an aesthetics of frustration (Bootz 2001) that investigates the creative tensions of e-literature. We need to investigate digital language art from the specific digital linguistic processes and constraints, promoting a transgression of writing, subverting our current technical apparatuses. E-literature should perhaps insist on critical digital literacies, placing the reader in situations of loss, unsettling, making foundations falter, turning our relationship with languages into crisis. De-proletarization […]