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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 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 […]
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 […]
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 […]
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 […]
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 […]
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, […]
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 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 […]