In his review of Glitch Poetics, Richard Carter finds more than a close reading of contemporary e-lit and AI enhanced writing. In a book that is both aesthetic and machinic, critical and creative, Jones explores the nature of writing itself "and, indeed, reading, in an environment saturated by the rhythms and predilections of digital code."
In his review of Broken Theory by new media artist and theorist Alan Sondheim, Aden Evens traces Sondheim's eclectic and stylistic meditations on the limits of philosophy, language, and code, expressed through the author's experimental art and research projects. Sondheim's fragmentary monograph and Evens' review by extension explore the inevitability of failure as an 'ontological guarantee' and suggest writing as a necessary—albeit inadequate and unfulfilling—response.
Melinda M. White's itinerary through the iDMA 2022 Weird Media Exhibition in Winona consider the various forms of weirdness or strangeness evoked by the exhibited works. She explores how strangeness characterises human relationship to constantly transforming technologies, how it manifests itself in our difficult pasts, and how it points to alternative of unexpected futures. While the weird encounters with the exhibition works in no way point to a single, unifying thread or approach to the theme, White's account reveals shared concerns, tendencies, and connections among them. Temporal distance and experiences of loss render familiar technologies, objects, or places unfamiliar; the borders between human and non-human entities and perspectives is blurred or even discarded; humor and surreal irreverence are employed to raise urgent questions on ecology, ethics, and individual or collective narratives and subjectivities.
"I too am a psychic automaton." Mark Amerika, a founding publisher of ebr, shares the onto-operational sources of his (capital C) Creativity with ebr editor Will Luers.
Mariusz Pisarski takes us on a detailed tour through the cognitive intricacies of hypertext classic Victory Garden's migration from Storyspace (circa 1992) to the Web. In so doing, Pisarski observes how years of Stuart Moulthrop’s experience as a mentor and teacher of digital literature, and as a practicing hypertext scholar and writer, are built into the anniversary edition of Victory Garden.
In a series of interviews led in February and March 2021, Nacher, Pold and Rettberg examined how contemporary digital art and electronic literature responded to the pandemic. Their project on COVID and electronic literature was funded by DARIAH-EU and resulted in the exhibition prepared for the ELO 2021 Conference & Festival and the documentary film that premiered in June 2021 at the Oslo Poesiefilm Festival. xtine burrough is one of the creators of 13 works that were interviewed for the project. She generously shares her thoughts on life and creativity, collapsing spaces and the meaning of a domestic art practice during the pandemic.
Review: Conceptualisms: The Anthology of Prose, Poetry, Visual, Found, E- & Hybrid Writing As Contemporary Art, ed. Steve Tomasula. Alabama UP, 2022
Where Tomasula (in his own words) makes “no attempt to historicize the field,” preferring to offer “a snapshot” of a vibrant body of conceptual literary art, Gonzalez in this review arrogates the position Tomasula passes on, and proposes that the many texts in Tomasula's "immensely rewarding" anthology continue in the spirit of postmodern literary forms and show the continuing potency of the postmodern toolbox.
Jeremy Douglass and Mark C. Marino reflect on the activities of the Critical Code Studies (CCS) Working Group 2020.