By now, Cultural Ecology, Ecocriticism, and Environmental Humanities can tell us all we need to know about climate change. What's still needed, however, is for authors and artists to reconceptualize environmental issues as social and human questions rather than mere technical ones.
On feminist futures of electronic literature (and interactive narrative, more broadly construed).
Elaborating on interspecies and translab experimentation. Escaja's interactive digital arts projects reclaim the notion of “transhumant,” a single term for nomadic practices that are shared by both the livestock and its shepherd. Both projects, Negro en ovejas (ovine poem) and Emblem/as, prioritize dislocation and nomadic multiplicity, which constitute a basis for resistance to and reconsideration of monolithic notions and canonical impositions.
Annie Abrahams reflects on the right classification of her own ... what, exactly? Hypertext work? Net Art, electronic literature, digital art, intermedia art, computer fine arts, internet art, interactive writing experiment, computer art, poetry, flash art, animation, hypermedia, lecture, digital print, performance, opera, sound piece, contemporary art, video art? Rather than settle on tags that were mostly based on technology and didn't say anything about what was experienced through the work, Abrahams now profers a behavioral art that considers human/machine interactions somewhat in the way behavioral science in the 1970s "studied monkey behavior in a cage."
Pold and Erslev explore third-wave electronic literature -- a practice situated in ¨social media networks, apps, mobile and touchscreen devices, and Web API services” (Flores). At the next conceptual level, however, literary practices of this kind unavoidably take part in representing and reconstructing the metainterface - a space of data collection, standardization, commodification and redistribution that, for better or worse, is our context for a contemporary data realism.
The authors speculate why some are bored by the goal of computational generation of "human-like" text. Inspired by Italo Calvino's alternative, minor strain in "Cybernetics and Ghosts," they argue that this kind of text generation provides an opportunity to destabilize as well as refine our sense of the differences between human and machine cognition.
Alex Saum-Pascual on e-lit's relocation to platforms with massive user bases, and the beauty of meh.
Working with a custom-coded, automated-art-system of their own devising, Australian digital artists Karen Ann Donnachie and Andy Simionato have now archived a literary corpus for future study in what they have called The Library of Nonhuman Books. Yet it remains uncertain whether human scholars will visit Donnachie's and Simoniato's virtual library. Seeing as how "there are no human ‘typewriters’ now, how can we be sure there will still be human ‘readers’ in the future?"
Like many of the "Artistic Reflections" featured in the Cork 2019 e-lit conference, Carpenter's opens out from her own web based works to a "post-digital world, in which invisible layers of data inform our daily thoughts and actions; a post-human world, of vast oceans and ceaseless winds."
Following the work of Jennifer Gabrys (in Program Earth), Carter contends that electronic literature has the potential to function as a mode of experimental sense-making. By exploring works by Tina Escaja, Mark Sample, and J. R. Carpenter, Carter reveals the limits and potentials of our data-driven epistemes - to expose that which goes unseen, and highlight its significance for how we come to know and respond to the challenges ahead.
Bouchardon and Mayer in this essay question the narrative model of personal identity – the idea of the self as a story – in light of contemporary forms of electronic literature.
Fostering a sense of connection or engagement towards the more–than–human world, or what David Abram has termed the “sensual world,” has the potential to allow humans greater understanding of our ecological place in inter–species communities. Digital artist Alinta Krauth enacts this understading with Diffraction, a mobile digital writing artwork that encourages users to experience a heightened sense of more–than–human relationality while outdoors. Krauth's practice–led research advances her argument "by using locative media, and emplaced play, as positive forces for considering our relationships with wild nonhuman Others."
A look at experimentation with crypto-machinic codes in Star Foster’s and David Ravipinto’s Slouching Towards Bethlehem.
image by flickr artist Art Hakker
Screen Capture in Digital Art and Literature: Interrogating Photographic, Interface, and Situatedness Effectsby Christelle Proulx
Christelle Proulx argues that screen captures in art and literature projects introduce three different effects on the representation of online world and its relation to offline world. The spatiotemporal specificities of the images produced are first considered through the photographic as a category of thought, then the importance of location is interrogated via the situated knowledges of Donna Haraway (1988) and concludes on the interface effects of this kind of imaging practice.
Taking his cue from the first line of Lady Mary Wroth’s 17th Century sonnet sequence, “In this strange labyrinth how shall I turn?” Corey Sparks locates readers in a contemporary, procedural sonnet at the intersection of electronic literature, digital edition creation, gaming, and literary poetics. Sparks includes a photo of a reconstructed medieval labyrinth, taken at St. Fin Barre's Cathedral in Cork, Ireland during his attendance at the 2019 Electronic Literature Organization conference.