Meredith Finkelstein surveys key methodological aims of CCS, and considers the ways attending to code can enrich understanding of digital works, looking specifically at digital artist and programmer Eugenio Tisselli’s code for Amazon.html
Jeremy Douglass and Mark C. Marino reflect on the activities of the Critical Code Studies (CCS) Working Group 2020.
While Gastropoetics is a marginal practice, these culinary experiments explore the relational dynamics of cooking, hospitality, and eating as persistent humanistic practices, even as such practices are increasingly mediated by "food selfies" and other emerging, performative taste practices. Key to understanding the appeal of gastropoetics is the ad hoc nature of human production and consumption (see de Certeau's "everyday life") performed under the constraints of the generated menu, of the platform, and of the mnemotechnical system itself.
Dani Spinosa reflects on the relocation of e-Lit scholarship and pedagogy "in the remote classroom for the precariat writ large."
As a follow up to the series of interviews with Ben Grosser in February and March 2021 (published later that year in ebr), we include here a more settled, post-pandemic set of reflections. In the interviews, Grosser noted how "the realities of the pandemic necessitated back then," and maybe still does, "a degree of vigilance about new information": is there anything new that we need to know? The flood of information, however, has been less about knowing and acting on that knowledge than it is about keeping us engaged, and returning us daily, hourly, and minute by minute to our digital doomscrolls. For this newly produced populace that is largely stuck online, Grosser here discusses a net art / e-lit project of his own, an alternative software interface called The Endless Doomscroller.
In this article, Richard Carter outlines an ongoing critical and creative engagement in electronic literature, digital sensing, and ecological concerns. Like many who are now publishing critical and creative works together (particularly in The Digital Review), Carter situates his practices in a set of entangled disciplines, and then discusses his developing project Landform.
While presenting a series of four selected E-Lit artworks, Marques and Gago demonstrate how our recent pandemic will affect new media art, similarly to the ways in which the Athens Plague affected the writing (and reception) of Greek tragedies. And the same goes for Cinema and Aids, smallpox and illustration, photography and the third bubonic plague, usw.
A critical encounter with one of alt-lit (alternative literature) movement’s most renowned contributors, whose moment (like many in this scene) has passed. Citing Christian Howard, Leah Henrickson advances the argument that “[w]e’re at a turning point in literary studies, and we need to confront how the changes in mode are affecting – and are affected by – the alternative networks of circulation within these digital spaces.”
Electronic literature as a method and as a disseminative tool for environmental calamity through a case study of digital poetry ‘Lost water! Remains Scape?’by Shanmugapriya T, Deborah Sutton
Reflections on an emerging digital poetry whose primary theme is ecological loss, and personal reminiscence.
Through the examples of three types of digital stories, including an interactive narrative for the smartphone based on notifications, a web narrative based on a real time data flow, and the widely used social media feature of stories, Bouchardon and Fülöp explore the relationship between the digital, temporality, and narrative. They ask, "what new narrative forms, or even new concepts of narrative do these new temporal experiences provided by digital technology offer to us?"
While defining the art object in a post-digital world, Maria Goichoechea de Jorge observes in media artists a nostalgia for an analogue craftsmanship; a rebellion against machinic perfection; and a resistance to forms of human creativity that propel us into an ever more profound symbiosis with our technological lifeworld.
Alex Mitchell (leader of the Narrative and Play Research Group at the National University of Singapore) shows how, while generative text adventure AI Dungeon allows players to uncritically interact with the AI system as they co-create a story, Project December instead primes the player for reflection and interpretation. Unlike most digital games, which emphasize immersion, this brings forward the problematic nature of their technology platforms: foregrounding rather than normalizing the strangeness of the experience, or even generating a kind of "spooky magic," as Project December creator Jason Rohrer puts it.
Building on the work of Souvik Mukherjee (2017), T. Shanmugapriya and Nirmala Menon (2018, 2019), Samya Brata Roy identifies emergent elements of a multimodal E-Lit tradition in India.