[…]simply a machine for the creative generation of language, but a machine for the generation of the critical, possibly evaluative, riPOSTes that are conscious of the institutional framing of the text they generate?” Certainly through riPOSTes, ebr encourages hyper-awareness in critical editing, and our next objectives in the future of scholarly publication aim to think through interaction and response in terms of vibrant textual ecologies. What these textual ecologies look like, however, depend on that which is generated by the community—by readers-as-writers like you. * ebr is in the process of updating the site’s author pages. If you have written an […]
[…]a number of different types of voices. The six characters sort of represent different age groups, different socioeconomic groups, as well as different types of reactions to the events. Some of this was again based loosely on the non-fiction research that Rod and his students did. The voice of the fisherman character, for example, I adapted the style of that voice, and some elements of his story, from interviews that Rod’s students did with longshoremen in Philadelphia. And the voice of the FEMA worker, in a way he serves an expository role, as a way to bring in that factual […]
[…]of national, regional, and stylistic varieties and combinations of natural and computational codes. The media in which these expressive forms occur shape the potential uses and meanings of various semiotic modes, and each digital language art-efact thus has to be seen as a stand-alone, unique manifestation of the semio-medial liberties that digital language artists have at their disposal, or indeed create for their own practices and those of others. Although the illness metaphor evoked by Cayley’s titular suffixation may seem inhibiting, the complexity of his underlying ideas helps to move us toward an idealist image of humanity faced with the […]
[…]information of a cursor with a plot triggers a bell sound created by additive synthesis. The vocoders only use 3 samples: a cello sound lasting one second, a whisper in a musical atmosphere of 50 seconds and the lapping of a river of 14 seconds. Due to the digital processing of sounds, these samples can be recognized only at certain times. The whisper can be heard only at the beginning of the work and the sound of the water only at the end. In other words, the “primitive” sounds of the piece can only be heard in specific geometric configurations […]
[…]our final instalment of the 4-part series on the metainterface—“a reconsideration of interface studies.” Scott Rettberg and Shelley Jackson’s “Room for So Much World,” is a special conversation with celebrated writer Jackson, detailing her experiments with writing mediums (including fresh snow and skin) and with materiality/language in more classic forms (see her newest novel Riddance). “Room for So Much World” anticipates themes in a forthcoming ebr gathering, Natural Media, edited by Editors Eric Dean Rasmussen and Lisa Swanstrom. Please look forward to what we have to offer in the next few months! For this month and the next, ebr will continue to […]
[…]has a long history in electronic literature. She considers, for example, the role of the source code and its manipulability in Nick Montfort’s “Taroko Gorge” and the many remixes and revisions produced thereafter. She even looks back to John Cage’s chance procedures and use of computational processes to identify that this process even predates what we now call electronic literature. The movement towards embracing the computer as co-producer of the literary work is an unstoppable current, she seems to suggest at the essay’s end, observing that “[w]e are now on the verge of developments that promote our computational symbionts to […]
[…]essay? If not, why not? For “the distinction”, as Peter Boxall writes, “between creative and critical writing is becoming harder to sustain” in the twenty-first century. And if everything, as Professor Einstein might put it, is relative with no consistent frame of reference, how can our shared social categories that define writing and genre hold? Yet, not everyone subscribes to the view that there is a contemporary melding of creative and critical practices. Recent computational approaches by Andrew Piper have revealed that this breakdown of boundaries is less pronounced than we might imagine. Piper shows, for example, that machine classification […]
[…]and academic forms of born-digital writing. Submitted essays may be exploratory, provocative, critical and/or polemical takes on any topic related to the issue theme (see below for the next issue theme). Essays must be multimodal, interactive and/or computational and made of HTML and JavaScript, video, audio or any browser-friendly software. Accepted works will receive some web development and design assistance, if needed. CFP: Issue 02 (2022) – “(digital) performance” Editor: Laura Hyunjhee Kim Co-Editors: Darija Medić, Kevin Sweet, Brad Gallagher The journal The Digital Review invites submissions for an issue on “(digital) performance.” We are interested in born-digital arts and […]
[…]can be framed as “experimentalism + mass culture” and she does this by looking at case studies of experimental and conceptual writing, such as the example of Manuel Puig’s Boquitas pintadas. Un folletín (1969) or Heartbreak Tango. A Serial and Pablo Katchadjian’s El Aleph engordado (2009) or The Fattened Aleph, which is a reworking or conceptual experiment with Jorge Luis Borges’s 1945 short story “The Aleph” that saw a court case with several appeals against Katchadjian amidst claims of plagiarism. Kozak frames Katchadjian’s experiment with Borges in the context of conceptual writing (popularized and made infamous by Kenneth Goldsmith) and argues […]
[…]Clarke entitled “Margulis, Autopoiesis, Gaia,” in which Clarke recounts his own process of critically and pedagogically working with the concept of “gaia” (the relations of things, as they exist on our planet, in relation the sun) through scientific discourse. In Lynn Margulis’s work What is Life? and Symbiotic Planet, Clarke comes to the realization that “if Gaia is a system, then Gaia theory is a form of systems theory” that can also articulate autopoietic or self-producing systems. Embracing approaches to autopoiesis, Clarke describes the expansion of autopoiesis beyond its scientific contexts, inquiring into recursiveness in several well-known concepts and texts, with particular […]