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[…]of an individual text, beyond indicating the functions a text employs. It cannot tell us, for example, why or in what sense Michael Joyce’s Afternoon, a story (Eastgate Systems, 1990) succeeds as a narrative fiction, or why one text may be more compelling or memorable to users than another. To ask these questions is inevitably to get into what Eskelinen patronizingly calls a content oriented approach – but is not content, however postmodern, fragmented, contradictory, deconstructive, or elusive it might be, intimately involved in why most users read texts and especially why they return to them time after time? A […]
[…]with in bed than the average Compaq desktop, does arrange the project in a binding approaching the comfort level of a (albeit heavy) quilt. You get the sense that what one needs to know to get a handle on things, to see where art and technology have come from and where they have ended up, is here to be had. Everyone you need to talk to is in this room. Noah Wardrip-Fruin and Nick Montfort, who both come to this project with their particular new media prejudices, have done a resounding job in fairly representing the genealogy of new media. […]
[…]to tell anybody” (11). Tape becomes Keever’s mantra and expressive medium for “over and over [he] ran the tape, looped and looped again through the recording, blocking out the words most coaches use for analysis” (8-9). LeClair thus recreates in Keever’s insight his own from In The Loop to understand processes rather than dictate circumstances. Such is LeClair’s deep structural intimation that runs through both criticism and novel. Keever in Greece is a fine travel writer, observing customs and local mores, taking us into the texture of a foreigner’s contemporary Athens, the hum and buzz of street life. LeClair is […]
[…]of civilization are cleanliness, order and beauty which police both the city and speech” [11]) and Foucault, Laporte never really follows a theoretical program. He is as much poetic and playful as scholarly, and his book maintains the suggestion of a draft. Laporte’s argument is consequently a rather elusive thing to pin down. Chiefly, he traces the development of ways to control and hide the production and disposal of human waste in Paris from the 16th Century. In particular, the “1539 decree to clean your stoop led to the domestication of waste, giving rise to notions of the family…. The […]
[…]where readers can explore these connections, “a place to hide out in long enough to learn how to come back” (345). The novel functions as a map to enable us to learn “the layout of the place” (The Gold Bug Variations, Morrow, 326) and to renew “our attention to what is at stake in an understanding of ourselves” (as Joe Amato has written in ebr). To connect his father’s study of time and his mother’s passion for music, Joseph describes the written score of The Time of Our Singing as “an index of time” (542). Elsewhere I argue the importance […]
[…]the master’s foray into e-horror. I ended up at www.glassbook.com, which offered me the chance to download The Glassbook Reader, a mini-browser utilising Adobe PDF technology and offering what the developers call “a high-fidelity reading experience,” which it does. The Glassbook Reader downloaded King’s short story in less than five minutes. The appearance is pleasant, typographic detail is excellent and in all details, bar the faint milky-ness common to all onscreen information, it faithfully replicates the character and style of the printed page. […] Elsewhere, more highbrow literary sites offer electronic alternatives to inky periodicals. www.spikemagazine.com and www.richmondreview.co.uk are brave […]
[…]dynamic present. Admittedly, the standards for doing this are still developing. And, for some time to come, it will be necessary to publish writing whose form is transplanted from print to web. But in the meantime, the least that a journal can offer is an alternative to the single-minded, linear reading that keeps critics like Shaughnessy from seeing what’s in front of their eyes. To further this point, this fall we are launching ebr 3.0, a new interface that reworks the reading and writing of the site. Because our work is in direct response to the dynamism and capacities of […]
[…]with the world that are as resonant and co-participatory as quantum models. This project opens into a new window; to return to ebr, keep this window open […]
[…]Chomsky-2! (If computer languages were not context-free, building practical interpreters and compilers would be impossible.) This clouds Montfort’s picture somewhat. Shall we disparage all computer languages because they are “only at Chomsky-2”? Shall we disparage all cybertexts because they are implemented by software written in context-free languages? We should be a bit careful about assuming that where something fits in the Chomsky hierarchy has anything at all to do with evaluation. But, as I say, the above is in the nature of a quibble. This paragraph is not. I think Montfort’s conclusion that hypertext fits at level 1 in the […]
[…]Stasi-like ambition to create a nation of citizen informants (through Operation TIPS), the hope for total executive control of the workplace (the creation of an office of “homeland security” was held up for months by the determined effort of Republicans to use the security imperative to break up the unions of the hundreds of thousands of federal employees reassigned to the office) to the virtual suspension of habeas corpus in connection with hundreds of 9/11 “terror suspects” — at this writing (April 2003) most still held without being charged for 18 months under draconian military law. Ultimately we have to […]