[…]of an imperilled global Anthropos. In his Stanford Blog, Mentz notes the problematic of adopting uncritically the planetary grandeur of Anthropocene rhetoric, which elides the unequal distribution of its origins and impacts, and thus observes its supplanting by the “Neologismcene” in the environmental humanities – cataloguing dozens of varied ‘cenes that seek to highlight what their originators contend are the key culprits, symptoms, and ethical demands of the present moment: Anglocene, Capitalocene, Chthulucene, Homogenocene, Oliganthrocene, Plantationocene, Thermocene, and Trumpocene, to name a few. A shared motivation behind these colourful labels is a recognition that the phenomena, dynamics, and potentials of […]
[…]fast. The screen is what allows the users to visualize and operate the interface, which decodes the continuous flow (Chatonsky 88). Flux is useful in order to address the incessant movements of information between devices: impossible to comprehend in their entirety. It is in these terms that Galloway addresses culture and the interface, to which I will return shortly, but I can already state that those effects are fundamental incompatibilities: it is the impossibility of reading the present as historical. « Laisse venir » which means “let it come” in french is also very similar to this notion of flux. In a […]
[…]and we should dedicate some time to discussing how we reached the selection criteria used in the working-prototype presented. The algorithm is (currently) tasked with finding a ‘goodness of fit’ of a 5/7/5 syllable structured poem (sometimes referred to as a Haikù poem originating from Japanese literature) latent within the finite set of words detected on each double page. The algorithm semantically parses the set terms, filters for English ‘stopwords,’ which NLP classifies as generic, but necessary, parts-of-speech (for example pronouns, particles, conjunctions and prepositions) and ranks the words by degree of ‘salience.’ Salience in this context is measured using […]
[…]of practices located across a great mire of communities and cultures. Ireland, with artistic and critical communities existing on the edge of Europe, lost between the great institutional powers that can be found within Britain and North America, is the ideal place to explore the peripheral” (see O’Sullivan 2019). This special issue is intended as a continuation of that exploration, comprised of scholarly essays and artistic interventions that demonstrate the great breadth of intellectual and creative endeavour pursued by members of this community. It is only a snapshot of that which was presented in the halls of the Kane and […]
[…]by Scott Rettberg – January 2021 Exploring Creative Research Practice “Digital Creativity as Critical Material Thinking: The Disruptive Potential of Electronic Literature” by Alex Saum – August 2020 “Addressing Significant Societal Challenges Through Critical Digital Media” by Scott Rettberg and Roderick Coover – August 2020 “What Should the System Say? Humanities Interpretation Guiding E-Lit Technology” by Noah Wardrip-Fruin – December 2020 Proposing Critical Reading Methodologies “Collaborative Reading Praxis” by Jeremy Douglass, Mark Marino and Jessica Pressman – September 2020 “Lit Mods” by Álvaro Seiça – September 2020 “Unhelpful Tools: Reexamining The Digital Humanities through Eugenio Tisselli’s degenerative and regenerative” by […]
[…]perpetuate a deep faith in the promises of technological advancements at the expense of more critical and dystopian attitude to the high-tech issues that are at play in contemporary media art and its criticism. Unlike e-literature, new media art and its hacktivism (e.g. the recent drone art projects) contribute new devices and tactics to civil society (and to the social citizen science); issues of aesthetics are pushed aside in media art situated beyond the technopositivist ideology. Unfortunately, the significant part of digerati are not familiar with the procedures that demonstrate the malfunction and the role of high technology in the […]
[…]for, but doesn’t demand, time to eddy in Sentences, the first example being an example of time working in a closed loop, an eddy, and the second being an example of two time scales working at once. The possibility for simultaneity of event, of lyric, in a “perpetual present” demonstrates the unique relationship the analog shuffle has to time, and it’s all in the hands of the reader (Barthes, S/Z, 5). So too, explicitly calling the verses on Grenier’s index cards ‘lyrics’ implicates the personhoods in Sentences, the human presences in the work. In a standard lyric usage, the reader […]
[…]clear that Canada holds a rich variety of transmedial literature, digital poetics, and net art—a critical and creative landscape more recently brought to the attention of global e-literature communities through the 2016 ELO Meeting in Victoria, Canada (co-chaired by Dene Grigar and Ray Siemens) and the 2018 ELO Meeting in Montréal, Canada (co-chaired by Bertrand Gervais, Caitlin Fisher, and others). The objectives of the Editors Dani Spinosa and Lai-Tze Fan are not only to highlight what has been accomplished in early digital poetics in the 1990s and early 2000s in Canada, but also to represent what new literary voices and […]
[…]of earlier eras, but as uncanny, hypermediated receptions of transmitted data, at times as massive coded data streams, minimally as disembodied voices. In the thrust and escape velocity of such cosmological narratives, the AI imaginary beams outward and away from Earth along expansionist and monolithic lines of evolutionary progressions toward cosmic heights ever receding from its human origins. Moreover, even within the human orbit, self-willed artificial personalities work so well that they overtake their programmers and assert their own goals. 2001’s HAL 9000 is an archetypal example of such a non-trivial or unpredictable machine intelligence. As this renegade AI is […]
[…]Research Center (University of Aarhus, Denmark) and the Bergen Electronic Literature Research Group (University of Bergen, Norway) in collaboration with dra.ft (India) and the Electronic Literature Lab (Washington State University Vancouver, USA). With over a year of experience with digital meetings, it was clear that the typical 20-minute conference presentations for a full week would simply be a battle of endurance rather than the generative space similar to the hustle and bustle of in-person conference. Instead, the organization chose a format of 5-minute presentations combined with extended time for engaged discussions. Most presenters also submitted a written papers in advance, […]