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[ Some of the links to journals mentioned here are no longer active; others are, and yet others, such as Amy Janota’s “Amy.com” appear to be under new ownership. See Todd Napolitano’s contemporaneous essay, Of Graphomania, Confession, and the Writing Self for another view on Web journals, and Rob Wittig’s Justin Hall and the Birth of the Blogs for a more recent discussion of what came to known as “blogs” -eds. ] Exactly what constitutes women’s writing on the World Wide Web is a problematic question. Almost any Web page constructed by/for/about women might be labeled as “women’s writing.” Since […]
Common sense ought to tell us it requires less effort to open a web browser than it does to walk across campus. Which is fine, at least for the moment, at least until academicians in both the humanities and the sciences begin to appreciate the potential for interdisciplinary exchange that the network now offers them. And by interdisciplinary, I don’t mean the routine say you say me patter of a literary critic having a conversation with a colleague in history. Instead, I mean aggressive interdisciplinary work, as when a cultural studies scholar looks in on the Artificial Intelligence Lab at […]
Marjorie Coverley Luesebrink performs an autopsy on the hypertextual corpse. The hypertext corpus has been produced; if it is to be resurrected, it will only be as part of a patchwork that includes other types of literary machines. (Nicholas Montfort) Many thanks to Nick Montfort for his “Cybertext Killed the Hypertext Star” reviewing Espen Aarseth’s work Cybertext: Perspectives on Ergodic Literature. Aarseth’s work is part of a valuable base of critical material that has attempted to refine the poetics of electronic literature on-the-fly, so to speak – to establish criteria in a field that is very young. As the form […]
Rita Raley on the varieties of code/text, as discovered in the object-oriented aesthetic of Mez, Ted Warnell, Talan Memmott, Alan Sondheim, and others. 6.) Code. Use the computer. It’s not a television. Excerpted from Lewis Lacook’s posting of his “rules” for net.art to the Webartery mailing list, reposted to the Nettime list (February 14, 2002). Codework refers to the use of the contemporary idiolect of the computer and computing processes in digital media experimental writing, or [net.writing]. Some of the prominent practitioners include Alan Sondheim, who has given the practice and genre its name, Mez (Mary-Anne Breeze), Talan Memmott, Ted […]
Digital utopianism is still with us. It is with us despite having been tempered by network logistics and an all-too-reasonable demand for ‘content.’ Admittedly, New Media has aged. It has acquired a history or at least some genuine engagement with the reality principle, now that the Net is accepted as a material and cultural given of the developed world, now that the dot.coms have crashed, now that unsolicited marketing email and commercialism dominates network traffic. Nonetheless, artistic practice in digital media is still often driven by youthful, escapist, utopian enthusiasms. Net Art as such pretends to leapfrog this naivety through […]
1. A gorgeous little book for a filthy little topic, Laporte’s History of Shit almost defies analysis. A history of the psychoanalytic, social, cultural, and political appropriations of human waste, Laporte’s approach is almost as fluid as his subject-matter and the result is both fascinating and frustrating: full of whimsical insight, jumps of logic, free association and half-constructed arguments that are reiterated 50 pages later. It is also engagingly illustrated with contraptions for the control of four centuries of Western shit, and the cover design evokes an anus. Although influenced by Freud (“whose three requirements of civilization are cleanliness, order […]
The simultaneous publication of these three texts on the first anniversary of 9/11 presents a unique opportunity to assess both relations among prominent voices in critical theory and the political meaning of aspects of theoretical discourse. Readers who are familiar with these authors will not be surprised by the dominant perspectives and some of the ideas in these texts: Baudrillard’s negotiation of the simulacral and the real, Virilio’s critique of the extensions of military technology, and Zizek’s appeal to Lacanian concepts are all on display. Baudrillard, Virilio, and Zizek use these frameworks to address the significance of 9/11, but the […]
Following Katherine Hayles, Matthew Kirschenbaum agrees that materiality matters. I’ve found both sides of the exchange about what cybertext theory can and can’t do useful and stimulating. I’m grateful to ebr and the various participants. Here I want to push the discussion of “materiality,” a word used by both Markku Eskelinen and Katherine Hayles, and a word I myself have been using since I started writing about digital media in the mid-1990s. For materiality does indeed matter, as Hayles has said. This is precisely the point I make (and a phrase I use) in an article forthcoming in the journal […]
In 1993, Simon During edited the Cultural Studies Reader for Routledge, a volume that helped consolidate the then-emerging field (and Routledge’s place in it). The New Media Reader, majestically edited by Noah Wardrip-Fruin and Nick Montfort for the MIT Press, will represent an achievement of equal or greater import for the rapidly accreting field of new media and digital studies. Anyone who doubts the necessity of a “reader” for an ostensibly screen-based enterprise is missing the point: as the editors note, new media’s past is to be found among hitherto fragmented and incompatible documentary forms: “on the Web in PDF, […]
If we take eternity to mean not infinite temporal duration but timelessness, then eternal life belongs to those who live in the present Wittgenstein, Tractatus (6.4311) It seems increasingly apparent to me that formally experimental writing is running counter to the main current of history. Whether we consider the global expanse of capitalism, the unrivaled position of the United States in international affairs, the rise of the Republican party nationally, or the worldwide audience for Hollywood film and American popular music, the general direction of the last three decades has been toward increasing consolidation of the dominant. My aim in […]