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[ā¦]the 2012 Hurricane Sandy and brings that experience into relation with catastrophic scenarios yet to come. It assumedly intertwines fact and fiction by using visual material of the Delaware River and true stories of deaths from recent storms and hurricanes in that same area. For many reasons, Sandy was a wake-up call in the United States, but in both private and public spaces of knowledge and discussion a division soon became apparent: on the one hand, the recognition of a strong link between such a climate disaster and the global warming and, on the other, the denial of such a [ā¦]
[ā¦]that emerge from this seemingly ādisorganized jangleā of texts are no accident. Rather ā[t]he computer-generated order of words in this book is based on the ancient art of tower-bell ringingā (163). Tower-bell ringing, or āchange-ringing,ā was a 17th century English sport where teams of ringers would ring church bells ā each weighing up to 9,000 pounds ā in highly complex mathematical patterns, a practice that is now understood as āprobably the earliest examples of serious group-theory in actionā (4). The goal of this sport was to ring all the possible arrangements in a given set of seven bells ā a [ā¦]
[ā¦]us in āElectronic Literature as Digital Humanities,ā one of the inspirations for this book: ā[C]reative production ā¦ is a digital humanities practice: not an application of digital tools to a traditional form of humanities research, but rather experiments in the creation of new forms native to the digital environmentā (2015: 127). In sum, electronic literature is digital humanities because of our shared philosophy that a computer is not a tool or prosthesis that helps us to accomplish our work; rather, it is the medium in which we work. This line of reasoning is articulated in the volumeās opening section, āContextsāāāthat [ā¦]
[ā¦]canonical works? C.F.: It has been exactly 20 years since I wrote that work for the ELO prize [for Fiction in 2000]. I wrote it in response and as a reaction to my doctoral dissertation. I defended in late June, I started my first academic post in July, and then I think the deadline was December 31st for Waves. Iād always thought that if I had time, it would have all been in Flash. Glad I didnāt! I actually looked a couple of weeks ago: the whole front is in Flash, which renders it inaccessible if I donāt do anything [ā¦]
[ā¦]cultural and political life. Such a reflection often takes the form of digital artwork, available for download and functioning as the browser plug-in or add-on. Yet, it seems the pandemic not only created a distinctive crisis of its own, but also exacerbated the ones that have long been in the making. Underfunded and inefficient public healthcare and education systems were the first to undergo the shock of sudden failure. In light of the famous Stafford Beerās observation known as POSIWID (the purpose of the system is what it does), such failures became particularly illuminating and sobering to many who were [ā¦]
What does it mean to be post? In a time of countless movements of post-[x], the value of the prefix itself becomes of interest: what happens to a concept when we turn it into a āposterityā? In the light of recent discussions surrounding post-humanism within electronic literature (cf. Literary and Aesthetic Posthumanism), as well as the questions surrounding post(?)-pandemic platforms discussed at the 2021 ELO Conference (cf. ELO 2021), it seems that we are far from being post-post, and the prefix continuously returns in different forms to allow us to discuss ongoing, multidirectional, and complex changes with a sense of [ā¦]
[ā¦]that the ability to converse with a sentient machine leads to the machineās refusal to continue to communicate. This dilemma haunts the AI imaginary. It may be related to a bias against organic embodiment or a disregard for the human, a desire for the absence of the human. In William Gibsonās Neuromancer, the AI being in question absconds from the scene of the human by escaping into cyberspace. The computational entity Wintermute gains release from the virtual shackles of the Turing Police in order to couple with its counterpart AI, named Neuromancer, and so achieve cosmic autonomy transcending human controls. [ā¦]
[ā¦]opportunity to introduce newcomers to the field but also to take stock in where the field has come and to look forward to where it is headed next. Critical Code Studies (CCS) names the applications of hermeneutics to the interpretation of the extrafunctional significance of computer computer source code. (Extra here means not outside of or in addition to but instead growing out ofā¦). CCS holds that the lines of code of a program are not value-neutral and can be analyzed using the theoretical approaches applied to other semiotic systems, in addition to particular interpretive methods developed specifically for the [ā¦]
[ā¦]is not, by default, the standard language ā it is just what the programming world is used to and there does not seem to be any reason to explore anything more āobscureā. Working group participant Stephanie Morillo wondered what learning to program was like for people who did not speak English, noting that Latin American coders did not have a lot of resources written in Spanish or Portuguese for them to use. Working group participant Derya Akbaba, a Turkish American from a family of engineers, reinforced Laitiās point about English being used as the default because it is considered the [ā¦]
Introduction For years now, the modern smartphone has provided comfort and distraction during breaks or interruptions in the flow of time (Mowlabocus). But perhaps no moment in modern history has provided such widespread and coordinated breaks in that flow as the early COVID-19 pandemic. During a time marked by government-mandated shutdowns of non-essential activities, many found themselves working and/or going to school from home, with travel and entertainment plans indefinitely postponed. Further, the period created acute needs for new knowledge, as well as additional desires for comfort and reassurance in the face of global uncertainty. Eagerly awaiting anyone who reached [ā¦]