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In week five, Stephen Ramsay performed a live reading of a livecoding performance: in a video, he presented a spontaneous commentary over a screencast of Andrew Sorensen’s “Strange Places,” a piece Ramsay had never seen before. The screencast showed Sorensen using Impromptu, a LISP-based environment for musical performance that he had himself developed, to improvise a piece of music; Sorenson developed the piece’s musical themes by composing and editing code. The video allowed the audience to watch Sorenson write and edit his code in the Impromptu editor window. This presentation inspired a discussion that broke livecoding down into two overlapping […]
Introduction On a theoretical level, the Digital is based on the manipulation of discrete units with formal rules (Bachimont). On an applicative level, interactive works are based on the gestural manipulations of semiotic forms (text, image, sound, video) by the reader. Both types of manipulations mentioned above are related. Manipulation is indeed the essence of the Digital. In terms of manipulation, the Digital offers a range of technical possibilities. To what extent can these possibilities affect the conditions and modalities of literary writing? The idea here is to confront literary creativity with the manipulative possibilities of the Digital. To what extent […]
Review of Mark Z. Danielewski, edited by Joe Bray and Alison Gibbons. University of Manchester Press, 2011. Everyone is tired of talking about postmodernism. This is especially the case with literature, where few writers ever embraced the term enthusiastically. Today calling yourself a postmodernist novelist seems to mean picking a fight with Joyce and Hemingway that everyone else has lost interest in, like an uncle who insists on trying to get everyone worked up about Iran Contra every time the family gets together. Regardless of how we imagine that thing that comes after postmodernism, Mark Danielewski is likely to be […]
Introduction The paper formulates the category “shuffle literature” to help reveal important qualities of certain intriguing works of fiction and poetry. We show how unusual formal and material aspects of these literary works interact with one another, revealing new things about aspects of literature that have been gaining scholarly interest and have increasingly attracted readers. Given the many new concerns about changing ways of reading, it seems particularly relevant to have a closer look into the form of literary expression that invites the reader to choose her own way of progressing the story while still belonging to the traditions of […]
Rui Torres tracks the practice of intertextual borrowing or “plagiotropia” between the works of Portuguese experimental poets. Plagiotropia is a tangible and fecund practice in digital poetry, where poetic texts migrate and grow across media. Torres’ arguments culminate in an examination of his own online combinatory cyber-poetry, which creatively re-writes earlier pre-digital experimental works. Introduction Húmus by Herberto Helder (1967) is recognized for its direct quotation from Raul Brandão’s 1921 poem of the same name. However, Helder’s work is more than the simple intertextual suggestion of a text: it transforms it, putting into motion its latent power, reviving it. As […]
The world of things has become a world of signs – a universe that both brings into being and is brought into being by symbolic codes. Perhaps it is for this reason alone that that most symbolic of all codes, the literary text, can foreshadow a future world while the contemporary world suggests the future of poetics. – Steve Tomasula Jeffrey T. Nealon’s Post-Postmodernism or, The Cultural Logic of Just-in-Time Capitalism restages and reactivates Fredric Jameson’s call, over twenty years prior, for a new situation and new mode of criticism adequate to late capitalism. While reduplicating Jameson’s title, terminology, methods […]
“…with wonderful skill, he carved a figure, brilliantly, out of snow-white ivory, no mortal woman, and fell in love with his own creation.” —Ovid, The Metamorphoses, Book X “Criticism can talk, and all the arts are dumb. In painting, sculpture, or music it is easy enough to see that the art shows forth, but cannot say anything.” —Northrop Frye, Anatomy of Criticism “Yes, it hurts being carved. The stone beyond the boundary of oneself is numb, but there always comes a time when the chisel or the point reaches down to where feeling begins, and strikes.” —Emily Short, “Galatea” Introduction […]
Since this is a paper about the computational context of literary writing, and to some extent poetry, I have invested heavily in metaphor, at least as far as the title is concerned. Taking key terms in no particular order: by end I mean not so much terminus as singularity or convergence of opposites, that defining, indefinable point where turn becomes return as one state gives way to another; from the imperative lift, I take both the sense of elevation or burdening (lift up) and appropriation (shoplifting); and by the numinous article this, I will eventually mean the inescapable subject of […]
Since its release in 2010, the Apple iPad tablet has launched a new form factor for computing, driven by the chameleon-like interface of direct manipulation provided by its touch screen. The iPad and the many other tablets that have followed in its wake (including the Kindle Fire, the many varieties of Android tablets, and the Windows Surface and touchscreen-centered Windows 8 devices) are transforming our physical relationship with texts by co-opting many of our expectations of print and integrating them with a range of gesture-driven interactive elements. As these electronic “books” have emerged on tablets, ranging in form from clear […]
Chris Funkhouser and Andrew Klobucar situate the poetry anthologized in the recent collection “Gnoetry Daily, Vol. 1: a collection of poetry written interactively with computers” within a long genealogy of computer aided writing in order to illustrate how that genealogy continues to be both aesthetically generative and socially significant. Editor’s note: The following essay mixes the voices of its authors, Christopher Funkhouser and Andrew Klobucar. conceived of named Daily one research substance poems ostensibly language years programmatic hard or no your and nothing different Jim arrangement work explores discovery which author to explicitly remove lines […]
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 […]