In his essay, Satisfying Ambiguity, Swigart points to Victor Fleming’s 1939 film adaptation of L. Frank Baum’s Oz novels as an example of the use of color to organize knowledge. In his essay, Satisfying Ambiguity, Swigart points to Victor Fleming’s 1939 film adaptation of L. Frank Baum’s Oz novels as an example of the use of color to organize knowledge.

In her review of McGann’s book Radiant Textuality, Katherine Acheson argues that the usability and graphic quality of McGann’s interface designs have thus far not lived up to the high ambitions of these projects. She suggests that a redesign would be necessary before digital humanities scholarship can become a viable alternative to traditional scholarly publishing.

Bethany Nowviskie of the University of Virginia introduces the COLLEX tool, a “COLL-ection” and “EX-hibition” of online images and interlinked texts in her white paper, which is available as an “enfolded” text on ebr.

Kenneth J. Saltman, writing in the Technocapitalist thread, dicusses Michael Milken’s efforts to privatize education, which, Saltman argues, are aimed at “transforming public education into an investment opportunity for the wealthy,” endangering the foundation of a democratic society.

ebr itself is an ongoing experiment in creating a generative, user-friendly interface. ebr has documented the conversations (by Anne Burdick, Joseph Tabbi, Mark Amerika) underlying the launches of various interfaces over the years. ebr itself is an ongoing experiment in creating a generative, user-friendly interface. ebr has documented the conversations (by Anne Burdick, Joseph Tabbi, Mark Amerika) underlying the launches of various interfaces over the years. Lorne Falk also writes for ebr on the affective interface and Linda Brigham on the interface as a form of artificial life.

Larry McCaffery writes of Elvis as a montage-artist in his ebr essay “White Noise/White Heat” on the postmodern in rock ‘n roll: he instinctively combined various American musical idioms (black gospel, blues and rhythm-and-blues, and white country-and-western) into a distinctively new form. Larry McCaffery writes of Elvis as a montage-artist in his ebr essay “White Noise/White Heat” on the postmodern in rock ‘n roll: he instinctively combined various American musical idioms (black gospel, blues and rhythm-and-blues, and white country-and-western) into a distinctively new form.

Echoing Jarrett’s claim for hip-hop as montage, Marcus Boon’s “Sublime Frequencies’ Ethnopsychedelic Montages” drives home to us that hip hop emerged out of the B-Boys’ taste for African polyrhythms purloined from old vinyl reshaped and engineered on turntables and mixers.

While Jarrett argues for rap as rhapsody, Rob Wittig presses for a future revival of hip-hop as the art of the troubadour.

It’s no surprise, then, that Daniel Reiss claims in his ebr review of Roger Chartier’s Forms and Meanings that the greatest insight afforded by Ong’s scholarship is that altering the forms by which thought is expressed and disseminated alters the process of thought itself.

Victor Vitanza reviews Ulmer’s Heuretics and contextualizes it in relation to Ulmer’s oeuvre. Victor Vitanza reviews Ulmer’s Heuretics and contextualizes it in relation to Ulmer’s oeuvre.