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Various materials from the Gaddis Archive by William Gaddis, Copyright © 2024 The Estate of William Gaddis, used by permission of the Wylie Literary Agency (UK) Limited. Due to the copyrighted archival material reproduced here, this article is published under a stricter version of open access than the usual Electronic Book Review article: a CC-BY-NC-ND 4.0 license. All reproductions of material published here must be cited; no part of the article or its quoted material may be reproduced for commercial purposes; and the materials may not be repurposed and recombined with other material except in direct academic citation – https://creativecommons.org/licenses/by-nc-nd/4.0/ […]
SR: Welcome to Off Center, the podcast about digital narrative and algorithmic narrativity. My name is Scott Rettberg, and I’m the Director of the Center for Digital Narrative at the University of Bergen. In this podcast, I’ll have conversations with the researchers at the center, as well as other experts in the field to discuss topics revolving around digital storytelling and its impact on contemporary culture. Did you know that computers were being used to generate stories decades before ChatGPT burst onto the scene? From text adventures to programs that can generate complex and multi layered narratives, the interaction between […]
SR: Welcome to Off Center, the podcast of the Center for Digital Narrative. I’m Scott Rettberg, the director of the Center, and today I have with me digital artist, digital poet, writer, and researcher Jason Nelson. Welcome, Jason. JN: Hi, Scott. Thanks for inviting me. SR: It’s a pleasure to have you here. And today I’m hoping that we can talk a little bit about your career as a digital poet and the work that you’re going to be doing with the Center and with the extending digital narrative node. So let’s start out with how you arrived at making […]
SR: Welcome to Off Center, the podcast about digital narrative. My name is Scott Rettberg. I’m the director of the Center for Digital Narrative at the University of Bergen in Norway. Today I’m joined with Joe Tabbi. Hi, Joe. JT: Scott, hi. SR: Joe is a Professor of English at the University of Bergen, and he’s leading the Electronic Literature node at the Center. Just maybe to say a little bit about your background before we begin, Joe, you have what I would say is a fascinating and diverse background as a researcher, scholar, and publisher, which we’ll be talking […]
Scott: Welcome to Off Center, the podcast about digital narrative. My name is Scott Retberg, and I’m the director of the Center for Digital Narrative at the University of Bergen in Norway. Jill: And I’m Jill Walker Retberg, co director of the Center for Digital Narrative. Scott: At the Center for Digital Narrative, we’re trying to define a new independent research field focused on digital narrative that integrates things like electronic literature, digital culture, game studies, computational narrative systems, AI, VR, and other emerging fields of digital narrative. In this podcast series, we’ll have conversations with researchers, artists, and authors […]
I encountered Matthew Kirschenbaum’s “Prepare for the Textpocalypse” in real-time, hot on the heels of a lively discourse on Twitter. The starting point of this conversation was a February 12th tweet about a dystopian future of AI run amok. (I must confess, I, too, have a deeply dystopian AI endgame in my docs folder, as do, I suspect, many others. And, like many who are reading this, I also jumped into Kirschenbaum’s #textpocalypse Twitter stream with my own dark imaginings.) From there, the conversation ranged as things tend to do on Twitter and culminated in the March 8 essay published […]
Victory Garden 2022, one of the latest web reconstructions of e-literary classics made by the Electronic Literature Lab, delivers a promise of yet another 20 years of exploration of this vast hypertext. Created in Storyspace and originally published in 1993 by Eastgate Systems, Stuart Moulthrop’s hypertext fiction achieved a status of a unique, literary evergreen, a wide ranging digital ouvre. The dense network of interconnected text spaces (993 lexias and over 2800 links) delivered an abundance of divergent stories that run in parallel or, sometimes, in contradiction to each other. Add to this some blind alleys and “secret” spaces, and […]
A recording of searing, unrelenting pain sounds has just started screaming on this page. Perhaps you have not noticed. Perhaps, like me, all sounds are painful to you and you routinely turn off the volume to live in silence (Colucci 2021). Or you are hard of hearing. Or your computer is malfunctioning. Perhaps, then, as you are now reading this in silence, you are wondering what signifiers you are missing—what clues are going unheard. Are the sounds vital to convey the full meaning of the piece? Is this piece like r(a/u)pture music where you see the multi-modal words converge—the rap […]
This paper follows the threads of speculative interfaces through electronic literature and the digital humanities, arguing not only that the speculative interface is a key attribute of electronic literature, but also that speculative interfaces are an important methodology in the digital humanities. I will discuss the interfaces of three works of electronic literature, each written decades apart: Christopher Strachey’s M.U.C. Love Letter Generator (1952), Michael Joyce’s afternoon: a story (1990) and Kate Pullinger’s Breathe (2018). Each of these creates a new, speculative interface: Strachey programmed a mainframe computer to generate love letters, Joyce pioneered hypertext fiction, and Pullinger created a […]
Care and Carelessness As the writer types furiously, attempting to meet a deadline, the little red squiggle appears. The writer’s eyes dart to the left. The word is “aquire,” but Microsoft Word suggests it should be “acquire.” The writer accepts this change and moves on. A few sentences later, another red line appears. When the writer hovers their cursor above the words marked by this line – “It goes without saying” – a popup message warns that this way of starting a sentence suggests a lack of confidence. This message comes from Grammarly, an algorithmic writing assistant. These days, algorithms […]
I direct an Immersive Storytelling Lab, and for most of my career have been deeply involved in electronic literatures and disciplinary boundary-crossing, making small worlds: haunted cabinets, first-personal confessionals, treasure boxes, book objects and large-scale cinematic palimpsests. It’s an honour to have the opportunity to think about the trajectory of my work in relation to (un)continuity – to sit with the recurring themes and tools and inspiration that is foundational to my practice – and while I leave all sorts of easter eggs in my work for careful readers – a repetition of character names, reuse of the same 3d […]
The focus of this essay will be Darren Wershler’s NICHOLODEON: a book of lowerglyphs and its living, digital manifestation as a ganglion of texts and links in its online version, NICHOLODEONLINE. Wershler creates a textual homage to the influential Canadian avant-garde poet, bpNichol, in NICHOLODEON, which is a “book” initially published as a print version in 1997 and then later in an online iteration as NICHOLODEONLINE in 1998. The materiality of each iteration differs drastically from the traditional appearance and presentation of its book version to its online manifestation. NICHOLODEONLINE is a moving and dynamic aggregate of pathways—it is a […]
The ELMCIP project (Electronic Literature as a Model of Creativity and Innovation in Practice: Developing a Network-Based Creativity Community), which ran from 2010-2013, was one of the most ambitious joint research projects to date in the field of electronic literature (e-lit). The seven-partner, six-nation project resulted in conferences in six countries, a major exhibition, three books, a film, the first digital anthology of European electronic literature, and the ELMCIP Electronic Literature Knowledge Base, a large-scale, open-access research database. This essay will present this multifaceted project within a Creative DH framework. After first presenting the work of the original three-year collaborative […]
Opening: The logic of white supremacy is parasitical: snaking its way through existing infrastructure, siphoning power, reconstituting structures, and circulating resources to produce hierarchies that elevate white experience. Recent efforts in electronic literature, however, have called this legacy of structural racism into question. The forthcoming (and fourth!) collection of e-lit from the Electronic Literature Organization, ELO’s amended fellowship program, and discussions about decolonizing e-lit featured at electronic book review are a few endeavors that question the role race, racialization, and racism occupy in the field of electronic literature. And yet, as noble as these efforts are, white supremacy has endured […]
Introduction In digital humanities work, we bring humanities insights and methods to bear on digital projects. Those projects are often themselves what we might call “humanities products.” That is to say, these projects operate within humanities domains: analyzing data from humanities disciplines for humanities publications, making humanities arguments in new media forms, opening access to humanities collections, or presenting humanities knowledge to the general public. But these are not the only types of digital projects that can benefit from a humanities approach. This article presents a strand of work we have been doing in developing new electronic literature projects at […]
En ELO 2019, celebrado en Cork, Irlanda, presenté dos series de artefactos digitales que exploran la est/ética aleatoria y su carácter descentralizador y nómada, una condición existencial y fundamentalmente rizomática que sintoniza con los parámetros filosóficos y feministas de Rosi Braidotti, así como con otros planteamientos de cruce y experimentación TRANSLAB, como los propuestos por la artista y teórica digital chilena Valeria Radrigán. En primer lugar, el proyecto-interface titulado Negro en ovejas, llevado a cabo como performance en 2008 en una granja ecológica de los Arribes del Duero, en Zamora (España), y publicado en 2011 como interfaz en la plataforma […]
In what follows, I offer up a reading of where architecture – in particular the repurposing of spaces that have operated as torture and detention centers under twentieth-century dictatorships – opens itself up to nature, provides for nature, and in a dynamic relationship with the natural world, expands upon the ways in which both human craft and nature make meaning. In the example studied here – designs for a space called Amphibia to be situated on the land of the former Chilean prison camp and torture center known as Tejas Verdes – the built environment and nature function as a […]
ELO is currently expanding its scholarly activity with the appointment of five graduate and early career Research Fellows, offering a $500 USD stipend and a one year membership to ELO. Please apply by April 1, 2019. More information can be found here. This month in our publications, Manuel Portela reviews Johanna Drucker’s The General Theory of Social Relativity (2018, The Elephants), praising its negotiation of social theory, artistic practice, and critical thought as a collective “manifesto for a new poetics of the social.” Continuing from ebr’s “Arabic e-lit” series that was first published in December 2018, we have a final essay to feature as part of […]
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 […]
We retell—and show again and interact anew with—stories over and over; in the process, they change with each repetition, and yet they are recognizably the same. (Hutcheon 177) There are texts that haunt us, that cannot and will not be forgotten, texts that seem to have strong if often mysterious claims over our memory, attention, and imagination and that urge us to reread them, to make them present in our mind again and again. (Calinescu ix) In this paper I discuss Monstrous Weather (Meanwhile… netprov studio), a recent netprov, or networked improvisation (Wittig, “Literature and Netprov in Social Media: A […]
The gesture of manipulation in digital literature In the domain of digital or electronic literature, interactive works have already existed for several decades. In an interactive creation, manipulations by the readers are often required so that they can move through the work (for instance in hypertextual narratives). Such manipulations, in these interactive digital creations, are not radically new and there are many examples of literary works which require physical interventions on the part of the reader; for example in Raymond Queneau’s Cent mille milliards de poèmes the readermust construct sonnets from a number of individually printed lines of poetry. Espen […]
Mark Polizzotti, translator of more than fifty books, writes that “… much of the translation theory emerging from academe is simply of little use in either helping anyone understand what translation is, or, from a practical perspective, helping produce better translations. … Translation theory is one of the few disciplines in which the study of the subject seems bent on demonstrating the very subject’s futility” (2018, p. 40). I certainly did not approach Mencía, Pold, and Portela’s essay with the skepticism that Polizzotti has for translation studies in general. My initial attitude was more the outlook that Jan Baetens seemed […]
It is true that Chris Kraus’s After Kathy Acker, due to Acker’s path in life, is nothing but a tour de force for any reader. Indeed, Kraus’s book contributes a great amount of new information to ongoing research on Kathy Acker, offering us insight into letters, journals, and some of Acker’s works. However, it seems that through the image of Acker “laid bare” by Kraus we are caught up in another image, which itself is in dire need of deconstruction. The legitimate choice of writing a biography that focuses on Acker’s personal relationships, after all, excludes the politics inherent to […]
Chris Kraus’s After Kathy Acker is tour de force stuff. In some sense, this is to be expected. Acker led a colorful, bohemian existence before and during her reign as the enfant terrible of postmodern literature. Legendary for her “transgressive” fiction and edgy punk image, Acker was one of the few writers—and only woman writer—to achieve a degree of fame as a countercultural figure in her time. Aware of the dangers depicting such a cult figure, Kraus has written a thrilling biography that respectfully lays bare the self-mythologization and image cultivation behind what would become Kathy Acker. Neither hagiography nor […]
What are we to make of current calls for “practice based” research in the Digital Humanities and e-lit fields? What about “art as research”? Stephanie Boluk sounds a caution concerning the ways that literary studies are being worked into the “instrumentalization and corporatization of the university system.” This series of short interventions were made at the “Futures of Electronic Literature” discussion at the bi-annual Electronic Literature Organization conference in 2012. Titled “Electrifying Literature: Affordances and Constraints,” the conference took place at West Virginia University in Morgantown on June 20th to June 23rd. The contributors were organized by Stephanie Strickland to […]
electronic book review is a peer-reviewed journal of critical writing produced and published by the emergent digital literary network. Although ebr threads include essays addressing a wide range of topics across the arts, sciences, and humanities, ebr’s editors are particularly interested in critically savvy, in-depth work addressing the digital future of literature, theory, criticism, and the arts. ISSN: 1553-1139 Contact: contact@electronicbookreview.com Editor in Chief: Joseph Tabbi Managing Editor: Will Luers Director of Communications: Lai-Tze Fan Editors: Lai-Tze Fan, Anna Nacher, Jason Lajoie, Anne Karhio, Tegan Pyke, Daniel Johannes Rosnes, Jasmine Mattey Previous Editors: Lori Emerson, Davin Heckman, Lisa Swanstrom, Eric Dean Rasmussen Previous […]
Introduction Every time contributors add a record to the ELMCIP Electronic Literature Knowledge Base, they have the opportunity to add references to creative works of other articles of critical writing referenced. This enables the formation of a network of critical relations, what we have described in the ELMCIP Knowledge Base project report as a “literary ecology.” Using node references and attached views in the databases, these cross-references automatically display on both the record for critical writing and creative work it refers to. Over time, this develops into documentation of the critical reception of any given work documented in the Knowledge […]
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 […]
The title of this paper borrows from Steve Tomasula’s own characterization of his novel in an interview; the central idea of his book, he suggests, is “the archaeology of human representation through layers of history that make up its chapters,” and in which “pages appear as strata in an archaeological dig” (Tarnawsky 2011). Indeed, Tomasula’s phrase “the archaeology of human representation” resonates sharply, for the specter of Foucault hovers tantalizingly throughout one’s encounter with the book. Central to Foucault’s grappling with “the history of the present” – comprising an archaeological method and a genealogical critique – is the idea that […]
See Grace, Wit & […]
See “Hypertext” […]
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 […]
“…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 […]
Introduction Creators of electronic literature are progressing toward a more pervasive employment of the “ludic” — of the spirit of play inhabiting not just the writing, and not just the programming, but both in an elaborate, symbiotic combination. The tradition of “ludic” writing is well-rehearsed in criticism of electronic literature, for example in the magisterial anthology The New Media Reader, edited by Noah Wardrip-Fruin and Nick Montfort. The tradition starts somewhere with the Oulipo, a group of writers and mathematicians who sought to delete chance and subjectivity from their work by the employment of extreme constraints,George Perec, Raymond Queneau, Italo […]
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 […]
Rob Swigart has been a journalist, a research affiliate at the Institute for the Future, a technical writer for Apple Computer, designer and writer of several computer games, secretary of the board of the Electronic Literature Organization, and is the author of nine novels, the latest of which is Xibalba Gate, A Novel of the Classic Maya. An interactive novel, Portal, was published in 1986 on computer disk and two years later in ‘hard copy’. Rob Swigart has been a journalist, a research affiliate at the Institute for the Future, a technical writer for Apple Computer, designer and writer of […]
Having been here once here now once again. -Magdalena, Twilight, A Symphony To repeat evidently implies resemblance, yet can we speak of resemblance unless there is difference? -Peter Brooks I was sitting on my screened porch in the afternoon sunshine, cocktail in hand, the LCD screen of my laptop casting a pleasant glare in my face. I had, for whatever reason, decided that my reading of Michael Joyce’s latest hypertext fiction had come to a resting point, and it was time to mull over some recent criticism. Scanning through some online articles, my keyboard fearing for its life as my […]
It only takes a glance at the cover to get a feel for where Loss Pequeño Glazier’s new book is headed. The cover art for Digital Poetics: The Making of E-Poetries first looks like a typographic jumble (an image of the cover is available at the book’s online appendix). Grey lines of text – mostly HTML code and Unix commands – run down the right side of the cover, immediately signifying “computerness.” The main title of the book is printed in a red X-shaped pattern that is overlaid on top of the light gray text. The top portion of the […]
the hypertext murder case “Hypertext is dead – ” declared Markku Eskelinen at Digital Arts and Culture ’99 in Atlanta. “Cybertext killed it.” No doubt, interesting hypertext poetry and fiction remains to be written, but – if we consider hypertext as a category that defines a special, valid space for authorship and criticism of computerized works of writing – Eskelinen is clearly right. 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. One viable category today, perhaps the most interesting one […]
From the outset, electronic textuality has been promoted through a kind of academic version of a hacker ethos. Just as hackers proclaim that “information wants to be free” and computers will democratize the world, proponents have celebrated electronic textuality for bursting out of the strictures imposed by print, and theorized its role in undermining hierarchies in the university and culture at large. This ethos has been grounded in an epistemology which has remained relatively implicit and therefore unquestioned. One finds an underlying sense in hypertext theory that electronic textuality is somehow more “natural,” more inherently suited to the human mind. […]
Artist Eduardo Kac writes on the attractions of the hologram as a malleable, fluid, and elastic medium for poetic expression. Experimental poetry followed many directions in several countries in the twentieth century. Each new direction attempted to address the historical, cultural, and often political needs of its own time. Between 1978 and 1982 I worked with countless experimental poetic styles, trying to develop my own direction. I explored traditional versification, recitation, body-based performance, visual poetry, graffiti, collage, typography, color, object-poems, sound, and a number of other possibilities. As a result of this relentless experimentation, I felt on the one hand […]
On the present and future of hypertext poetics (circa 1997). When a lifeline of words is dangled for an instant before meaning about to go under, or when some desperate insight pulls a knife on language, what happens next is poetry – that extraordinary product of extreme circumstances in which every verbal action has to count. A line of poetry is a walk along a high ledge, and one false word can mean a plunge to the prosaic parking lot below. Nothing less than “the best words in the best order,” to quote Coleridge’s no-nonsense definition of the art form, […]
From Zukofsky’s “A” to Powers’ Goldbug Variations, in search of a social ecology of the self-discursive text. Prelude In what follows, I compare the work of a (very much alive) novelist with that of a (very much dead) poet. Specifically, I compare a recent (long) novel to a not-so-recent (long) poem. In doing so, I read what some will call “content” across two distinct literary genres. My reason for reading Richard Powers’s The Gold Bug Variations over and against Louis Zukofsky’s “A” is to help bring into clearer focus why we might do well to turn more of our critical […]
De Witt Douglas Kilgore reviews Technoscience and Cyberculture. Almost forty years ago C.P. Snow set the terms for a struggle between science and the humanities which yet shows little sign of resolution. In the mid-1950s Snow found that scientific and literary intellectuals lived in two cultures, watching each other with either “frozen smiles” or “hostility and dislike, but most of all lack of understanding.” By 1963 he discerned the emergence of a third culture in the universities of the United States as American academies strove to bring together the disarticulated halves of the intellectual culture. Subsequent events suggest that his […]
Apologies: This is not a ‘balanced’ review of the Hypertext ’97 conference, but only, as Ted Nelson would put it, one particular, packaged, ‘point of view’. I haven’t named all the names I should have or even many and I have not explicitly acknowledged the herculean efforts of the many organizers. Readers are referred to the full published conference proceedings, The Eighth ACM Conference on Hypertext, edited by Mark Bernstein, Leslie Carr, and Casper Osterbye (New York: ACM, 1997). My perspective is that of a practitioner of literary cybertext. This piece was written quickly as a draft towards a (probably […]
Considering hypertext as a subset of cybertexts, Markku Eskelinen offers seven examples of how to implement Espen Aarseth’s seven-fold typology. Still, what would theory be worth if it were not also good for inventing practice? – Gérard Genette, Narrative Discourse Revisited introduction There’s at least one serious downside to Espen Aarseth’s cybertext theory: reviewed by Nick Montfort in ebr winter 00/01 it puts, or is very capable of putting, an end to hype in the rapidly expanding field of digital textuality, where it seems there are always newcomers who can’t make a living without fashionable exaggerations and homebred buzzwords (like […]
New media in a book, metafiction in hypertext: the printed book, as yet, is the more hospitable medium. (The New Media Reader; Figurski at Findhorn on Acid.) 1 If there is a bound codex that writers of hypertext and new media artists have been waiting for, The New Media Reader is it. In its 823 pages the editors sample the work of a stunning array of writers, designers, programmers, scientists, and artists. Italo Calvino and Robert Coover stand shoulder-to-shoulder with Jan L. Bordewjik and Ben van Kaam, authors of “Towards a New Classification of Tele-Information Services” and, for less surprising […]
Jim Rosenberg sends a shot of grammar straight across the bow of Nick Montfort’s controversial Cybertext review, adding volume to a volley already in progress Nick Montfort’s review of Espen Aarseth’s book Cybertext, “Cybertext Killed the Hypertext Star,” ebr 11, has much to say about cybertext which is useful. I have found the concept of cybertext to be a useful generalization of hypertext and many other forms of electronic writing, and have taken to using the term a good deal myself. I’m not sure I disagree with Montfort on the fundamentals of cybertext. However, Montfort’s essay contains numerous assertions on […]
One “is no longer maintaining a public online presence” (as if you could ever really be “present” on the Web). The other blogs away like it’s going out of style (and some can only hope). The first time I used the word blog I was walking through a park long ago and I needed a word to describe what I had just stepped in. At their worst, weblogs promise to be reality television’s revenge on literature; at their best, they are a digital art form that promises to keep us extraordinarily human. I intend to keep my mind open. And […]
Stuart Moulthrop re-opens the debate on the “electronic book” and its continued marginalization vis-a vis print. Dear Editors: Praise to Dave Ciccoricco for a thoughtful, comprehensive, and notably open-minded essay on the contours of “contour” and other vicissitudes of Joyce-Bolter-Bernstein hypertext. I welcome an account that gives both eros and engineering their due; and for all the iconography of cairns and monuments, I’m glad to read something that isn’t a premature death notice. I do take friendly objection to one point the author makes in closing, citing my opposition to the concept of “electronic books.” Mr. Ciccoricco writes: “Clearly, ‘electronic […]