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[…]or recuperable for writers whose every word is no more than data entered in the hexadecimal codes of a software program. Kittler remarks, in fact, that “no human being writes anymore…. Today, human writing runs through inscriptions burnt into silicon by electronic lithography…. The last historic act of writing may thus have been in the late seventies when a team of Intel engineers [plotted] the hardware architecture of their first integrated microprocessor.” Dialing back as far as Frank Norris’s McTeague (1899), Wutz shows how profoundly disturbing was the introduction of the typewriter to “Norris’s idea of authorial agency, registering as […]
[…]even of a spider swimming through a tree, practiced in our actual perceptions. Which we’re working on, to see better like a quantum counterpart or osmosis we’re in the midst of. So, like witness, weighty impediment, reciprocal lens seeming to tell us about ourselves with each other, is water thus our shared incompleteness? Doubting the Gaia theorists, I am willing to wait, a form of listening, for signs that the Gulf Stream is a living organism even if just the conveyor for passengers, such as plankton, Sargassum weed, dolphins, and, at least until recently, 600-pound bluefin tuna. In the current […]
[…]of the patron saint of elevators. Like the Pompidou Center in Paris, this material exposes the working guts of symbolic structures. The material also, I think, makes a claim for knowledge independent of intuition or basic empiricism – for specialized information not usually found in fiction. Call this information a Thirdsource. The passages about the elevator in turn make the pages of The Intuitionist a textual Thirdspace, for the elevator material is, in Soja’s terms, both real and imagined, researched and invented. The material may seem marginal to plot and character but is central to the book as a hybrid […]
[…]creative writing programs and book awards in the literary marketplace. Circulation and reception studies invoke the market not only in terms of the dissemination of literary texts but also as a kind of democratic, cosmopolitan public, one that counters older conceptions of the literary text as inviolate, impersonal, and distant from the contaminations of mass culture. These ways of thinking economics into literature are vital to literary studies today. Michael Clune’s American Literature and the Free Market, 1945-2000 persuasively argues for a different, formally sophisticated mode of engaging with economics and literature that provocatively posits an intimate relationship between literary […]
[…]using what others have said to think through what is happening at the moment. The player is working out what has happened in life, not dwelling on the past but reworking it like “a jump of memory answering answer” (260). If “the beat is all” it’s because it is the measure as a man composing is the measurer of all things, and working out the details in his work the jazz player begins to tell a story and hint at the title the piece he’s working which will be given by an unknown woman later at a club, “Coastline”: The […]
[…]and reader, between the codes given by a text and the choices readers make in interpreting those codes. At times, the writing of Penthouse-F signals a kind of literary seriousness, in prose that attains to the tradition the book so clearly cherishes. Describing an act of warmth and contact with his captives (a foot massage), Kalich muses, “An even greater sense of power and erotic command enveloped me as I observed the girl’s imploring, pleading eyes begging that I do the same for the boy, asking nothing for himself, but rather only for the girl” (178). Yet the text undermines […]
[…]points of view, focusing as they do on “Brian” and “Brad”‘s activities apart from the group consciousness. Yet, as with everything in The Sluts, what is real is indeterminate. What is real is only language, and much of it floats, unanchored in veracity or certainty. If the violence of the prose in the George Miles Cycle often reduces character to language, to inscribability, in The Sluts even language is unsettled – the words used to describe Brad are comically, emphatically inconsistent. As Baker has observed, the information reported by his reviewers gives Brad seven different heights, ten different weights; his […]
[…]Elisha Scudder. Boston, 1899. eBook. The Cambridge Poets. Marcuse, Herbert. One Dimensional Man: Studies in the Ideology of Advanced Industrial Society. 2nd ed. New York: Routledge, 2002. Print. Routledge Classics. McLuhan, Marshall. “Playboy Interview: ‘Marshall McLuhan – A Candid Conversation with the High Priest of Popcult and Metaphysician of Media.”The Essential McLuhan. Ed. Eric McLuhan and Frank Zingrone. New York: Basic Books, 1995. 233-269. Print. Pascal, Blaise. Pensées. Trans. Roger Ariew. Indianapolis: Hacket Publishing, 2005. Print. Stevens, Wallace. The Collected Poems of Wallace Stevens. New York: Vintage 1990. White, Curtis. “The Late Word.” Lapham’s Quarterly: Roundtable. Oct. 2011. Web. January […]
[…]and body, one being metaphorized by the other throughout VAS, Square hopes to act upon his body by working on his text. “Just a little editing” is one of the recurring phrases bringing together text and body, this one aimed at belittling the consequences of the operation, seen as but an amendment brought on the manuscript of Square’s body. He tries to become more familiar with the surgery awaiting him by playing on words, their sounds and mutations, as well as by calling upon earlier examples of similar “procedures”, to use the term referring to the vasectomy in VAS. The […]
[…]via apps, from individual artists, like Christine Wilks, and small collaborative teams, like the group behind the narrative-driven audio app for runners, “Zombies Run!” The latter might not qualify as literature or art, despite being co-created by a prize-winning literary novelist, Naomi Alderman, but the work of the former, including Wilks multiple award-winning piece “Underbelly,” most definitely does. But even “Zombies Run!,” with its fantastically successful Kickstarter funding drive, shows new ways for writing and writers to make their mark – with Alderman’s literary abilities harnessed in this way, perhaps “Zombies Run!” will be included in someone’s idea of a canon, […]
[…]pleasure or pain is precisely calibrated and coded to the information. The pornographic image is coded for desire, the image of a child coded for sympathy. Intense pain is unmeasured, uncoded, and yet utterly consuming for the sufferer. The abjection or terror I feel in the face of suffering may be in response to this “sublime” distance, a sublimity that maps the edges of the network. The sufferer of intense pain who suffers in and through every image and every word is possibly a model of reference, of the mapping of the body to the network. Referentiality is precisely not […]
[…]of reading and language, it also creates new ones. “Spacing Reading” aims to foreground the critical potential of the shift in dynamics and the capacity it enables to redefine language relations, such as syntax, semantics, translation, genre. I have called this “inextrinsic” because it embodies a contradiction, or tension (“in-ex”); “intrinsic” because it takes the human reader into deep or underlying structures of poetic language invisible before digital media and the virtual; “extrinsic” because this new way of reading then moves to foreground associative, or metonymic, traces. A new Subjectivity in language is glimpsed, while at the same time, language […]
[…]young Townshend to “installations combining vibrant colour, lighting, TV screens, and complex coded music” (56). The American painters Larry Rivers and Ron Kitaj, both of who rejected Abstract Expressionism to create flat, parodist distortions of figuration and realism, teach at Ealing Art College, too. The most influential mentor at school is the Fluxus or Anti-Art figure Gustav Metzger; decades after his Ealing Art College days, Townshend bankrolls Metzger’s first solo show at MOMA Oxford (464). Born into a Jewish family in Nuremberg, Metzger fled Nazi Germany. As an expatriate artist in England in the 1940s and ’50s, Metzger found that, […]
[…]brief references. It is with this aspect in mind that Melley’s book needs to be approached; the critical tradition that it operates within obviously exists in conjunction to an argument that, on the face of it, submits no clear vectors of resistance. Yet to interpret it in a light of an unhappy but exitless narrative of resignation is to miss the point, which lies less in the articulation than in an application of a process of thought that insists on a critical, uncompromising response to the state of emergency. “[W]e have institutionalized undemocratic means of preserving our democracy” (222): the […]
[…]of non-fictional texts. Social discourses are activated to provide the site of Tomasula’s critical intervention. In other words, the decision to cut off the signifier of the severing operation–using “vas” for vasectomy, or in other words, reducing vasectomy to “vas”—symbolically disables the State apparatus organizing the sterilization campaigns, literally depriving it of its capacity to contain people, vasectomizing the vasectomizers, so to speak. The morphological neutralization of vasectomy by subtraction finds a macro-structural equivalent in the strategic juxtaposition of biopolitical positions and their refutations. Such a layout desemanticizes the aggressive declarations by blocking their full deployment to avoid turning VAS into […]
[…]and Lawson Jaramillo, Cynthia. 2007. “Dovetailing Details Fly Apart—All Over, Again, in Code, in Poetry, in Chreods.” http://www.slippingglimpse.org/pocode Strickland, Stephanie, Cynthia Lawson Jaramillo and Paul Ryan. 2007. slippingglimpse. http://slippingglimpse.org/ Stoppard, Tom. 1993. Arcadia. Faber and Faber: London. Thom, René. 1980. Modèles mathématiques de la morphogénèse. Christian Bourgeois Editeur. Tomasula, Steve. 2004. [First published in 2002] VAS: AN OPERA IN FLATLAND. [Art Design by Stephen Farrell]. Chicago : University of Chicago Press. Waddington, Conrad Hal 1977. “Stabilisation in Systems: Chreods and Epigenetic Landscapes.” Futures. Volume 9, Issue 2, April 1977, 139–146. […]
[…]existence…. (237) Ryan’s observation partially reflects the electronic medium in which he is working—as she notes, “you never know if you have seen all the nodes and followed all the links” (226)—but is just as much a feature of Joyce’s handling of point of view and his use of poetic, suggestive images. In Reading Network Fiction Ciccoricco links Joyce’s claims about contours and flow to the organization of some of his electronic works: “Contours are the shape of what we think we see as we see it but that we know we have seen only after we move over them, […]
[…]the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. As Nietzsche says on brainyquote.com, “The future of the ELO influences the present just as much as the past.” When we submitted proposals to ELO, ELO 2012 was the future. For now, it is the present, but it will soon be past. Naturally, we find the future in the present, informed as it is by the past. For this panel, I’ve been asked to offer a few ideas about […]
[…]the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. This video documents a presentation developed for the ‘Future of Electronic Literature’ panel at ELO 2012: Electrifying Literature: Affordances and Constraints June 20-23, 2012 Morgantown, WV The video was made in 2 weeks prior to conference using 123D. Voiceover was partially improvised at conference, then re-recorded afterwards. [Text voiceover from video] I have no idea What the future Will really bring I have no idea What time sings […]
[…]post-Platonic forms gesture toward a kind of cybernetic beauty (yes) for which there’s no critical vocabulary as yet. When Matthew G. Kirschenbaum speaks of the “radical aestheticization of information,” he means to suggest, I think, that the work of the artist in the “information age” is not – as hostile critics of postmodernism contend – only the critical work of resistance to informational transparency, or pure unadorned utility. The artist’s work is also the constructive work of noticing “accidental” aesthetics at play, not as by-products but as primary cultural contexts for the production of technology. Better yet, it is the […]
[…]between its memory and the possibilities of loving and thinking, here and now, animates a certain critical energy. This Provincetown of memory is a place of oceanic freedom. Going to the movies, sometimes with her mother, sometimes alone. The resource that is cinema, for the young: “Everyone thinks desire is make believe when it comes to famous people and movies. In that case, you can go all the way. Go for it.” Young Masha rides her bike around everywhere, with a headphone sound track, cruising with a kind of tomboy autonomy. “I was being the kind of boy I wanted […]
[…]“Without a high degree of ‘existential redundancy’–the constraints of the specific code of communication, codes of behavior, particular lexicons, contexts, intentions, the actual relationship between the sender and receiver, and so on—there is no signification.” (234) Information is not concerned with the systems (sender and receiver), which process it. Meaning, on the other hand, is. Thus, information is necessary for signification, but not sufficient. Tan Lin’s Plagiarism/outsource: notes towards the definition of culture : untilted Heath Ledger project : a history of the search engine : disco OS, which nominally concerns itself with the death of actor Heath Ledger employs […]
[…]through evacuating its inherent emotional intensity. How can writing that seeks to maintain a critical distance adequately, or accurately, she asks, express or contain engagements with affect? While Houser does not discard critical distance, she rightly insists that we “must take methodological inspiration from the literature we analyze and bring different ways of knowing—from scientific experiment to embodied feeling—to bear on each other. Following this procedure, interconnectedness becomes method and not only theme or aspiration” (224). Throughout Ecosickness, Houser (re)incorporates language, which is alternately coded as scientific or affective, in order to undo the false dichotomy between reason and emotion. […]
[…]2014. Derrida, Jacques. “The Animal That Therefore I Am (More to Follow).” Trans. David Wills. Critical Inquiry 28.2 (Winter 2002): 369-418. Elias, Amy J., and Christian Morau, eds. The Planetary Turn: Relationality and Geoaesthetics in the Twenty-First Century. Evanston, Il: Northwestern University Press, 2015. Herbrechter, Stefan. Posthumanism: A Critical Analysis. London and New York: Bloomsbury, 2013. Margulis, Lynn, and Dorion Sagan. What Is Life? Berkeley and Los Angeles: University of California Press, 2000. Nealon, Jeffrey T. Post-Postmodernism: or, The Cultural Logic of Just-in-Time Capitalism. Stanford, CA: Stanford UP, 2012. Spivak, Gayatri Chakravorty. Death of a Discipline. New York: Columbia University […]
[…]writing technology materially dependent on the interfacing of physics and mathematics (matter and code) that enabled a cascade of symbolic processes from the writing symbols through programming languages through machine language through differential voltages, and back. He conceptualized this double nature of digital code as an expression of the tension between forensic materiality and formal materiality. Screen presentation, data models and programming are formal material instantiations of processes that also have a forensic material instantiation at the nanoscale of magnetic processes. It is the allographic nature of code that enables it to represent multiple symbolic systems and multiple media materialities. […]
[…]about when the words disappear and the story space becomes immersive, but this assumes certain codes in the narrative that make for a smooth delivery. By contrast, modern and postmodern works of literature and film complicate the reader’s access to narrative space, either by limiting immersive possibilities or by using techniques to activate mental activity outside or parallel to the narrative space. We don’t have a word to properly describe the cognitive space of the reader, the way a text triggers personal trails of thought and imaginary possibilities of an emerging fiction. In Terminal Identity, Scott Bukatman compares the de-narrativized […]
[…]Cited Appiah, Kwame Anthony Appiah. “Is the Post- in Postmodernism the Post- in Postcolonial?” Critical Inquiry 17 (Winter 1991): 336-57. Borges, Jorge Luis, “Kafka and His Precursors.” In Other Inquisitions 1937-1952, trans. by Ruth L. C. Simms. Austin: University of Texas Press, 1964. Nealon, Jeffrey. Post-Postmodernism or, The Cultural Logic of Just-in-Time Capitalis. Stanford: Stanford University Press, 2012. James , David and Urmila Seshagiri. “Metamodernism: Narratives of Continuity and Revolution.” PMLA 129 2014: 87-100. Sukenick, Ronald. The Death of the Novel and Other Stories. New York: The Dial Press, […]
[…]article…it circulates, it influences a field in the making even if it’s like William Gaddis studies, say, and then five or six years later it counts towards your tenure… SR: And that’s how they’re able to hold researchers hostage… JT: …that’s where they economize something that’s an autonomous activity for a not for profit guild type of corporation, which is what the tenured professoriat is: and that’s now being economized. SR: And then they can control tenure. They control and profit from tenure and that’s the problem, right? So, I’m thinking of those alternative structures and they can, even be […]
[…]at ebr/altx, we’re ready to put an end to the construction of periodical issues. Instead of working within an unconsidered paradigm inherited from print media, the ebr editors intend to construct our own ends, over time and on terms that we set for ourselves (within the constraints of the web […]
For many who are committed to working in electronic environments, an electronic “review” might better be named a “retrospective,” a mere scholarly commemoration of a phenomenon that is passing. There’s a technological subtext to the declining prestige of authors and literary canons. To bring that subtext to the surface will be part of ebr’s […]
[…]five-volume edited series, “The Politics of Information,” brings class back into cultural studies, considers the Web as crucial to the expanding ‘informatics of domination,’ and recovers the cyborg as a key figure for an entire world of labor and lifeways. Recalling that Donna Haraway’s Cyborg was never meant to be a wired, blissed-out bunny, Marc Bousquet and Katherine Wills recover the political dimension in socialist-feminist thought. Their five-volume edited series, “The Politics of Information,” brings class back into cultural studies, considers the Web as crucial to the expanding ‘informatics of domination,’ and recovers the cyborg as a key figure for […]
[…] our non-periodical, continuous publication is designed to keep the archive current and to present critical writing not as an afterthought, but as an integral element in the creation of literary fictions. Everything that happens, happens now. The essays, narratives, and essay-narratives gathered under the thread title, Fictions Present, reaffirm the ‘presentist’ bias in electronic publishing and in ebr particularly: our non-periodical, continuous publication is designed to keep the archive current and to present critical writing not as an afterthought, but as an integral element in the creation of literary […]
[…]taken up and (re)defined? How might we rethink noise to allow it to play a more defined role in critical practice? Of course, the central question remains: why noise? For an answer, we might turn to Michel Serres. In a 1983 essay, Serres insists on remembering noise. This may appear as peculiar, for thinking of conventional understandings of noise—grating, loud, unexpected or unwanted—noise does not seem to be something all too easily forgotten. Still, Serres insists: “It is true that we have forgotten noise. I am trying to remember it […] I shall look for noise in the parting of […]
[…]the journal necessarily draw tangents to arguments and concepts running throughout EBR, such as critical and educational praxis, the posthuman, and the potentialities of electronic […]
Vienna Now! Recent literary studies such as Mark Taylor’s Rewiring the Real (read Vanwesenbeeck’s review); Michael LeMahieu’s Fictions of Fact and Value; and the volume Wittgenstein and Modernism (edited by Karen Zumhagen-Yekplé and LeMahieu), have ushered in a return to logical positivism in literary studies, more than two decades after the perceived impasse between continental and analytical philosophy (as captured in the historical stand-off between Derrida and Searle) seemed to have been decisively settled in favor of the former (read Kellert’s essay and Michaels’ essay). Perhaps not coincidentally, this return to logical positivism is drawing renewed attention to the Vienna Circle […]
[…]irretrievable, but our distance from their origin confers a powerful nostalgia, even to their critical reception. A digital world-weariness, too, has set in. Assertions in the late 1990s that online advertising would never catch on evoke later handwringing over blogging’s rise, which in turn sounds just as quaint as the claim (briefly popular in 2010) that the iPad would never sell with a name so polysemic. The following essays from 1995 to 2003 inhabit a utopian moment that has since been eclipsed, and a series of moments that continue to be eclipsed with increasing frequency. Central to the moment was […]
[…]at ebr/altx, we’re ready to put an end to the construction of periodical issues. Instead of working within an unconsidered paradigm inherited from print media, the ebr editors intend to construct our own ends, over time and on terms that we set for ourselves (within the constraints of the web […]
For many who are committed to working in electronic environments, an electronic “review” might better be named a “retrospective,” a mere scholarly commemoration of a phenomenon that is passing. There’s a technological subtext to the declining prestige of authors and literary canons. To bring that subtext to the surface will be part of ebr’s […]
[…]protocols, new interfaces, and possibly even new ways of drawing the boundaries between text and code, digital gaming and textual […]
[…]our non-periodical, continuous publication is designed to keep the archive current and to present critical writing not as an afterthought, but as an integral element in the creation of literary […]
[…]actively promoted) that appears to have calcified and entrapped Acker herself when she fell out of critical favor. Thus, if her “life was a fable,” it was one “created through means both within and beyond her control” (14, 15). Kraus’s novelistic powers are also on display throughout After Kathy Acker. Kraus is adept at recreating particular scenes, such as the description of one of Acker’s apartments in New York: “Mornings, the sound of the boiler kicking on wakes them up early, and they go back to sleep. Steam heat moves through the pipes, but it never fully warms the room. […]
[…]parasitic audience with a flexible backbone who neglect knowledge and culture, who harm the working class with a disregard for culture and live their lives, never seriously taking anything into account.» However, the fate of non-half-intellectuals was not too rosy. For example, Khvylovy shot himself in 1933, protesting against the arrests of his friends, and most of them were killed by the Soviet government in 1937 (the generation of Ukrainian artists liquidated that year is often called Executed Renaissance). The half-intellectual author at long last always became both a bad engineer and a poor writer, but when in the time […]
James O’Sullivan is the Founding Editor of New Binary Press and Digital Literary Studies, a freelance journalist, and writer. He took up a lectureship at University College Cork in July 2017, and there he will host the 2019 conference of the Electronic Literature […]
Daniel Schulz, studies History and English Studies at the University of Cologne. In 2016 he finished his BA with the thesis “Body, Text, and Society in the Work of Kathy Acker.” From March 7th to September 15th 2017 he carried out the inventory of the Kathy Acker Study at the University of Cologne, which he is currently […]
[…]Towards Preventing and Controlling Cancer with Diet and Lifestyle. NJ, Wayne, Avery Publishing Group, 1982. Kushi Michio; Alex Jack, The Cancer Prevention Diet: Michio Kushi’s Nutritional Blueprint for the Prevention and Relief of Disease. New York, St. Martin’s Press, 1994. Michael Learner, Choices in Healing: Integrating the Best of Conventional and Complementary Approaches to Cancer. MA, Cambridge, MIT Press, 1994. Patrick Quillin; Noreen Quillin, Beating Cancer with Nutrition: Clinically Proven and Easy to Follow Strategies to Dramatically Improve Your Quality and Quantity of Life and Increase Chances for a Complete Remission. OK, Tulsa, Nutrition Times Press, 1994. The list reproduced […]
[…]Civil Liberties Union. 2018. Judge Allows ACLU Case Challenging Law Preventing Studies on ‘Big Data’ Discrimination to Proceed. American Civil Liberties Union. April 2, 2018. https://www.aclu.org/news/judge-allows-aclu-case-challenging-law-preventing-studies-big-data-discrimination-proceed. Bratton, Benjamin H. 2016. The Stack: On Software and Sovereignty. Cambridge, MA: The MIT Press. Eubanks, Virginia. 2018. Automating Inequality: How High-Tech Tools Profile, Police, and Punish the Poor. New York, NY: St. Martin’s Press. Haraway, Donna J. 2016. Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke Univiversity Press. Lyon, David. 2015. Surveillance After Snowden. Cambridge; Malden, MA: Polity. MacCormack, Patricia. 2012. Posthuman Ethics: Embodiment and Cultural Theory. Farnham, Surrey, […]
[…]not simply a machine for the creative generation of language, but a machine for the generation of critical, possibly evaluative, riPOSTes that are conscious of the institutional framing of the text they […]
[…]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 […]