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[…]scarcity, and highlighting the extensive energy-demands of blockchain infrastructure. These very latest developments will not be discussed further here, except to acknowledge that they have brought into sharp relief questions regarding the ecological impacts of generating, distributing, and displaying digital art. In considering this difficult relationship between the ostensive richness of the digital medium and its profound entanglement with environmentally damaging paradigms, instances can be found of electronic literature that are able to negotiate between these aspects. J.R. Carpenter’s This is A Picture of the Wind (2018) is one such, and I have argued that its expressive value lies in […]

[…]Amazon.html, the source code is released as a series of fragments that do nothing. The user needs to combine the fragments, save them into an HTML file, and open the file in a browser. When the program starts to run, we see a random assortment of asterisks in shades of green that represent trees. These slowly are replaced at random by brown numbers. Numbers replace the trees at an accelerating rate until there are no trees left – only brown numbers. We can interpret this display. Replacing trees with numbers can point to the commodification or quantification of natural resources. […]

[…]a role in a fictional work thanks to the interactive dimension it offers to the user. If we are to compare the different ways of staging time depending on the medium, we can observe that the inherently time-based audiovisual media are by definition prescriptive with respect to their temporality ― the length of a film coincides with the viewer’s stream of consciousness (Stiegler, 1998), even if media for individual use allow for interruptions, rewinding, fast forwarding or acceleration, modifying the original temporality inscribed in a fictional work. The printed text is inversely not very prescriptive; the reader acts out his/her […]

[…]communications networks, media networks, and socio-cultural networks.” In this sense, “[m]edia and socio-cultural networks can work as much in favor of the virus as against it – witness the pervasive media hype that surrounds any public health news concerning emerging infectious diseases” (119). And the same could be said regarding computer viruses, especially considering the outburst of both artistic and non-artistic variants throughout the 1990’s and the beginning of the new millennium, specifically exploring public concern on the topic, by using alarming interfaces and/or payload simulators, but resulting in a not so alarming, close to innocuous, technical damage. Nonetheless, if, […]

[…]cousin, it is merely a way-station on the road to grammatizing everyday life, which heretofore, had been largely resistant to normalization. While human behavior is loosely organized by norms and expectations, social life tends to reward deviation and surprise in inverse proportion to the degree to which normative expectations dominate. In other words, manners and customs enable tactical play, and these subversions are the spice of life. However, the advent of digital platforms as spaces for everyday life presents a challenge to these kinds of tactical subversions. The common notion that if you can think of it, you can find […]

[…]down so that we can trace and test and communicate the possible paths it might take. […] [T]hinking about tactics for slow computation can be a decentering strategy, considering that computation takes place at a beyond-human scale of perception.” The collective has identified a creative geneology for their work: Ursula Damm’s generative video project  Membrane, Rebecca Fiebrink’s Wekinator; Lauren McCarthy’s LAUREN; Anne Burdick’s Trina; Tactical Tech’s Gender and Tech resources project; Sarah Ciston’s ladymouth; Catherine Grffiths’ Visualizing Algorithms, and Caroline Sinders’ work on the Feminist Data Collection, which details a path for building data collections and ontologies in a feminist […]

[…]if you know his work. He’s a designer and he has a strong publishing record. And this is his latest book. I’m going to plug Bruce now for a moment. It’s called Bruce Mau’s 24 Principles for Designing Massive Change in Your Life and Work. It’s a beautifully designed book. I saw him give a talk that went along with the book to tell us about it and bring us into his world a little bit. He had a slide that we viewed that he brought together these various crises, you know, stacked on top of each other. In fact, […]

Victory Garden 2022, one of the latest web reconstructions of e-literary classics made by the Electronic Literature Lab, delivers a promise of yet another 20 years of exploration of this vast hypertext. Created in Storyspace and originally published in 1993 by Eastgate Systems, Stuart Moulthrop’s hypertext fiction achieved a status of a unique, literary evergreen, a wide ranging digital ouvre. The dense network of interconnected text spaces (993 lexias and over 2800 links) delivered an abundance of divergent stories that run in parallel or, sometimes, in contradiction to each other. Add to this some blind alleys and “secret” spaces, and […]