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[…]Story People. Blood & Laurels. Linden Research, Inc., 2014. Marino, Mark C. Critical Code Studies: Initial Methods. MIT Press, 2020. Mateas, Michael. “Procedural Literacy: Educating the New Media Practitioner.” On The Horizon. Special Issue. Future of Games, Simulations and Interactive Media in Learning Contexts, vol. 13, no. 1, 2005. Mateas, Michael, and Andrew Stern. Façade. Microsoft Windows. Procedural Arts, 2005. Maxis Software, Inc. The Sims. Microsoft Windows. Electronic Arts, Inc., 2000. McCoy, Josh, et al. “Prom Week: Designing Past the Game/Story Dilemma.” Proceedings of the 8th International Conference on the Foundations of Digital Games, Society for the Advancement of 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 […]
[…]Schwenger draws a parallelism with another type of “global language,” expressly, “computer code” – though this comparison between the two does seem a little unbalanced, given that “computer code” already possesses its own disruptive and dysfunctional modes of expression. Chapter 2 presents yet another type of dialectic tension, specifically a dialogue between “three asemic ancestors” – Henri Michaux, Roland Barthes, and Cy Twombly, respectively – representational echoes of so many other artists/writers who practised “asemic writing” well before it was designated as such. As happens in other chapters, Schwenger does not provide an extensive list of artists or artworks (he […]
[…]Jesper. Games Telling Stories? Game Studies, vol. 1, no. 1, 2001, http://gamestudies.org/0101/juul-gts/, http://gamestudies.org/0101/juul-gts/. Kracauer, Siegfried. Cult of Distraction: On Berlin’s Picture Palaces. New German Critique, vol. 40, 1987, pp. 91-96, doi:DOI: 10.2307/488133, www.jstor.org/stable/488133. —. The Mass Ornament. translated by Thomas Y. Levin, Harvard University Press, 1995. Landow, George P. Hypertext the Convergence of Contemporary Critical Theory and Technology. Johns Hopkins University Press, 1992. Latham, Alan. The Power of Distraction: Distraction, Tactility, and Habit in the Work of Walter Benjamin. Environment and Planning D: Society and Space, vol. 17, no. 4, 1999, pp. 451-473, doi:10.1068/d170451, https://journals.sagepub.com/doi/abs/10.1068/d170451. Mencia, Maria et al. Electronic […]
[…]1, 2020. Call for Papers: The Digital Review is looking for submissions for its 2021 issue on “Critical Making, Critical Design,” a special double issue with ebr edited by Lai-Tze Fan. Deadline: 500-word abstracts due November 1, 2020. * ebr is in the process of updating the site’s author pages. If you have written an essay or review for the journal and would like for us to update your bio, please send the revised copy (including links) to Will Luers (wluers@gmail.com). —Anna Nacher Editor, […]
[…]the primacy of code to e-literary and digital humanities work, asserting “you don’t have to code to perform poetry with this code.” By building this inclusive model of code-play into her poetics, Strickland places Ringing the Changes firmly in conversation with feminist digital humanists, who have long argued that centering codework in digital humanities (and by extension, electronic literature) centers exclusionary, masculinist value systems that force women and BIPOC (Black, indigenous, people of color) out of the field. Within Strickland’s oeuvre, texts like True North (1997) and V:Vniverse (2002) reveal a poetic practice that has long been invested in bringing […]
[…]of value and justice (Eskelinen, 387). The cultural turn is expressed most strongly, though, in studies like Flanagan’s Critical Play, Mia Consalvo’s Cheating, and Miguel Sicart’s Ethics of Computer Games, which created frameworks for a new generation of cultural game studies. The most recent exemplars include Stephanie Boluk and Patrick Lemieux’s Metagaming, Shira Chess’ Ready Player Two, Bo Ruberg’s Video Games Have Always Been Queer, and Melissa Kagen’s Wandering Games. Again, there are no absolute distinctions. The culturalists are often keenly engaged on a formal level – Boluk and Lemieux, for instance, operationalize their theories through conceptual levels and mini-games […]
[…]1, 2020. Call for Papers: The Digital Review is looking for submissions for its 2021 issue on “Critical Making, Critical Design,” a special double issue with ebr edited by Lai-Tze Fan. Deadline: 500-word abstracts due November 1, 2020. * ebr is in the process of updating the site’s author pages. If you have written an essay or review for the journal and would like for us to update your bio, please send the revised copy (including links) to Will Luers (wluers@gmail.com). —Caleb Andrew Milligan Editor, […]
[…]Practice, vol. 14, no. 2 (2013): 147-160. Nacher, Anna. “Migrating Stories: Moving across the Code/Spaces of our Time”, Hyperrhiz: New Media Cultures, special issue “Other Codes / Cóid Eile”, no. 20 (2019). http://hyperrhiz.io/hyperrhiz20/. Accessed 30 Sep 2019. O’Sullivan, James. “Electronic Literature in Ireland.” Electronic Book Review, 11 April 2018. https://electronicbookreview.com/essay/electronic-literature-in-ireland/. Accessed 10 Jul 2019. O’Sullivan, James, Órla Murphy, and Shawn Day. “The Emergence of the Digital Humanities in Ireland.” Breac: A Digital Journal of Irish Studies, 7 Oct 2015. https://breac.nd.edu/articles/the-emergence-of-the-digital-humanities-in-ireland/. Accessed 10 Jul 2020. O’Toole, Fintan. The Lie of the Land: Irish Identities. Verso, 1997. Pagel, Walter. “The Paracelsian Elias Artista […]
[…]thank the students whose work was featured here. We are grateful to the Creative DH Frameworks Working Group. Works Cited Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Johns Hopkins University Press, 1997. Accessed 7 July 2020. Akazawa, Chloe. “Individual and Group Final Projects – DIGHUM 101.” GitHub Repository, 2020, github.com/chloeaka/Digital-Humanities-Project. Accessed 1 Sept. 2020. “Akazawa Video 2020.” Akazawa, Chloe. Google Drive, 2020, drive.google.com/file/d/1Nn3rEaQyZsBxCFoVYJlSOCjrnj2jkS2E/view. Accessed 1 Sept. 2020. “Art Up Close”. Akazawa, Chloe, 2020, artupclose.wordpress.com/. Accessed 1 Sept. 2020. “Art Up Close Blueprint 2020.” Akazawa, Chloe. Google Drive, 2020, https://drive.google.com/file/d/1gUaGubLdqVp-J9ZGzQ2l9En5MwdSPKz2/view. Accessed 1 Sept. 2020. “Berkeley News.” Public Affairs, UC Berkeley, […]
[…]USA) * Call for Papers: The Digital Review is looking for submissions for its 2021 issue on “Critical Making, Critical Design,” a special double issue with ebr edited by Lai-Tze Fan. See below for more information. * ebr is in the process of updating the site’s author pages. If you have written an essay or review for the journal and would like for us to update your bio, please send the revised copy (including links) to Will Luers (wluers@gmail.com). —Lai-Tze Fan Editor and Director of Communications, […]
[…]of collaboration, if either of your writing processes have changed over the years as a result of working together? Warren: Through the years since Dennis and I have collaborated he’s said that working with me has changed the way he writes, and he tends to think more visually because of it. I feel fortunate because a lot of poets are not going to let some other person mess with their stuff like this. At times Dennis would say hey you went too far, or you can’t break that line there. So there’s definitely negotiation in certain instances. I respect what […]
[…]had been working in collaboration with Jeremy on developing the initial practices of critical code studies, the application of hermeneutics from the humanities to the interpretation of the extra-functional significance of computer source code. That practice involved examining source code as a cultural text in order to discuss its cultural meaning. He models these methods in his new book Critical Code Studies. Together we three scholars set out to read a work of digital literature together using the methods we had been developing separately. The result was a collaborative reading experience that changed the way we saw the digital object […]
[…]breakdown of that chain of causality that brings forth text and images through the mechanism of code. By having code literally erase itself (more accurately, by having the PHP script erase or corrupt the corresponding HTML file) in response to user interaction, Tisselli precludes this digital erasure of word for action, making code, in its full, material thingness, apparent to its users. Viewing the works today and being presented the narrative of their respective processes of breakdown in this way obliges the viewer to confront obsolescence – the gradual wearing down of each work’s instrumental functionality – in a way […]
[…]Pressman, Mark Marino, and Jeremy Douglass, in Reading Project (2015), or Marino in Critical Code Studies (2020). Literary and artistic works that are written in digital systems cannot be fully understood and explored without the praxis of their processes and interfaces. This approach is fully embodied in creative-critical code practices such as Montfort and Strickland’s “cut to fit the toolspun course” (2010, 2013), a version of annotated code that expands the possibilities for essay-writing in form and content. Their elegant annotations were published in the comments of the source code of the work itself, Sea and Spar Between. In the […]
[…]Potential of Electronic Literature,” Alex Saum-Pascual describes creative making as a form of critical thinking—an approach to applying theory as practice that has gained serious traction worldwide, often described as “critical making” (Matt Ratto) and “research-creation” (Chapman and Sawchuk). Saum-Pascual outlines the urgency of this approach for the humanities, and “more concretely, to the pedagogy and scholarship on digital or electronic literature,” through which the practice of digital creation in particular can shed critical light and self-reflexivity to media materiality, form, performance, deformance, and computational infrastructure writ large. * Joseph Tabbi’s “Something There Badly Not Wrong: The Life and Death […]
[…]metrics are carefully designed to discern spending habits and time allocation. World views and critical evaluations are precisely what go missing in corporatized social media – not just from the uncritical inclusion of any and all literary writing in scholarly databases tagged for categorical distribution, but in the “digital humanities” generally, a scholarly emergence(y) that, for all of its “infinite ungraspable” canons of creative and scholarly work has yet to establish, in academia anything approaching a widely shared curriculum for literary studies of born digital writing and scholarship. In 2014, a “decade-plus” into “the emergence of digital humanities (DH),” David […]
[…]and research groups have the opportunity or desire to implement these methods in the same way. Critical Data Studies applies different strands of critical theory across stages of collection, analysis, storing, and dissemination when engaging with data. Jen Jack Gieseking notes that: “big data must be sized up through its mythos, measurements, and the pace of its accumulation” (2). Gieseking not only provides an alternative that makes doing data research more attainable, but also better as “new insights can be gained by accounting for multiple, nested, and imbricated scales of data” (3). How do we build this assertion into a […]
[…]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 documentary research that Rod and his students did. The voice of the fisherman character for example, and some elements of his story were adapted from interviews of longshoremen that Rod’s students found in union archives. The voice of the FEMA worker, in a way serves an expository role, to bring in factual information about all of these toxic waste sites on the […]
[…]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 […]
[…]moment and inspired by them. Granted, clearly visible Rettberg’s inspirations by the platform studies to some extent allow for acknowledging the role of the audience, as does the reader-response theory – the usual suspect when it comes to finding the proponents of audience-based approaches in aesthetic and literary theory. Also, it was Scott Rettberg who brilliantly pointed out a decade ago that if electronic literature is to thrive and develop (speaking in terms of its infrastructure and practicalities), it should communitize rather than monetize. Speaking from the perspective of 10 years after, to a great extent, we can see how […]
[…]is shot through with commercial values in the content and the data-hoarding platform itself whose code is uninspectable and whose parent company is being boycotted by more than one hundred companies withholding their Facebook ad spend during July 2020 to protest Facebook’s agentic role in attacking civic organizations and discourse. What might “decolonization” look like? Cramer pointedly wonders whether we should “dispense with the notion of literary writing.” Art made from internet “plunderground” such as 4chan image macros, is authentic to democratized access but risks “remaining at a safe distance” that “doesn’t actually question the ontological status of ‘literature’” (366). […]
[…]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 […]
[…]the wrong people the right questions, or he is asking the right people the wrong questions. This critical mésalliance, however, also often results in some of the strengths of the volume. The various negotiations of interviewers and interviewees, especially where the critical agenda is not fully received and accommodated by a deep allegiance to singular literary vision and craft, tend to open up the discussion in a way that I suspect will be appealing for most readers, and what emerges is an expansive and rich global literature focused in non-dogmatic ways on the productive intersections of history, personality, and storytelling. […]
[…]the business models of the Big Four, but also psychosocial energies—both of individuals and of groups—which, however, are thereby depleted. (Stiegler 2019: 7) Transformed into data providers, these entities (both the individuals and groups that the so-called “social” networks take apart and reconstitute according to new protocols of association) are stripped of their individuality: their own data, which constitute what we might call (drawing on Husserl’s phenomenology of temporality) their retentions, are then what allow them to be dispossessed of their own protentions – which is to say their own desires, expectations, volition, will, etc. (Stiegler 2019p: 7) By thus […]
[…]‘the humanities’ own methodological toolkits’ with theoretical insights from software, critical code and platform studies” (Pitman, Taylor 4). While I don’t disagree with the potential of this approach to DH, what I am suggesting inverts the traditional Humanities discursive order more radically, by situating making and materiality alongside or, even better, as conceptual undertaking, by taking the place of the immateriality of the rational logos. In order to avoid falling in the trap of instrumentalization, my e-lit framework does not “supplement” traditional humanities’ methodologies but inverts its rational order and asserts the importance of creativity over or, more accurately, within […]
[…]one excellent digital humanities documentation and preservation project. Mark Marino’s Critical Code Studies (The MIT Press, 2020) proposes a humanities-driven research method of analyzing code of particular relevance to electronic literature. Perhaps with the exception of the forthcoming volume Electronic Literature as Digital Humanities: Contexts, Forms and Practices (Bloomsbury, 2020) edited by Dene Grigar and James O’Sullivan, none of these publications extensively place electronic literature among DH debates or practice. Here we do so in a free online open access forum that takes advantage of the multimedial affordances and discursive environment of the Web. With a clear and focused field […]
[…]embrace. * Call for Papers: The Digital Review is looking for submissions for its 2021 issue on “Critical Making, Critical Design,” a special double issue with ebr edited by Lai-Tze Fan. * ebr is in the process of updating the site’s author pages. If you have written an essay or review for the journal and would like for us to update your bio, please send the revised copy (including links) to Will Luers (wluers@gmail.com). —Lai-Tze Fan Associate Editor and Director of […]
[…]and sentiments,” as well as evokes a “sense of how much one is like others” (78). While working on the first installment of his project, Brainard wrote in a letter to Anne Waldman that he felt I Remember “is about everybody else as much as it is about me” (qtd. in Padgett 171). However, he chose not to gloss over the memories which clearly mark out his experience from that of the majority of the book’s audience – his homosexuality: I remember one football player who wore very tight faded blue jeans, and the way he filled them. (19) I […]
[…]behind the essay would usually emanate from a particular type of theoretical framework or critical stance — either one that is pre-existing or constructed by the author — the backing would be theoretical/critical literature that related to that framework. The presence of backing for the warrant would vary quite considerably from essay to essay, since any essay would be underlined with assumptions, some of which would be taken for granted as commonly understood by the academic literary community, others that would be strongly questioned. Here I suggest, using Bernstein as an example, that creative criticism may be most effective when an […]
[…]Generation Literature Postweb Literature?”). In Artistic Reflections, we are including extended critical reflections of the artwork that was featured at the ELO 2019 art exhibition—each a creative intervention into digital tools. Read the essays of Rui Torres and Eugenio Tisselli, Anastasia Salter, Alinta Krauth, Tina Escaja, Annie Abrahams, J.R. Carpenter, and Karen Donnachie and Andy Simionato. Given that the 2020 Meeting of the ELO will be a virtual conference, Nilsson-Fernàndez and O’Sullivan wish to convey this message that is also shared by us at ebr: “The editors of this special issue would like it dedicated to ELO2020 organisers, whose labour […]
[…]constraints. Confusion and discomfort, poliphony and complexity, will eventually emerge from this critical proposition. But we do need to critically address linguistic discourses from within, based on an aesthetics of frustration (Bootz 2001) that investigates the creative tensions of e-literature. We need to investigate digital language art from the specific digital linguistic processes and constraints, promoting a transgression of writing, subverting our current technical apparatuses. E-literature should perhaps insist on critical digital literacies, placing the reader in situations of loss, unsettling, making foundations falter, turning our relationship with languages into crisis. De-proletarization through transparency, deception, criticality and difficulty should ideally […]
[…]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 […]
[…]have seen the emergence and dynamic unfolding of new and overlapping transdisciplinary fields or critical methodologies (e.g. Cultural Ecology, Ecocriticism, and Environmental Humanities). Interdisciplinary and plural, combining a large array of multifaceted scholarly approaches (Rose et. al. 2012; Oppermann 2011; Gersdorf and Mayer 2006), the field has however a focal point: the need to reconceptualize environmental issues as social and human questions rather than mere technical ones, to be handled by experts or technocratic structures. Engaging with these ongoing critical discussions, this paper offers an eco-oriented reading of literary and artistic digital works. How do the contemporary digital art and […]
[…]literature (and interactive narrative, more broadly construed) are intimately tied to questions of code: who codes, and how, and perhaps most importantly how it is taught (Salter). With “Re:traced Threads,” that work becomes material. Works Cited Berens, Kathi Inman. “Tournedo Gorge.” Electronic Literature Collection Volume 3, Feb. 2016, http://collection.eliterature.org/3/work.html?work=tournedo-gorge. Black, Shannon. “KNIT + RESIST: Placing the Pussyhat Project in the Context of Craft Activism.” Gender, Place & Culture, vol. 24, no. 5, May 2017, pp. 696–710. Taylor and Francis+NEJM, doi:10.1080/0966369X.2017.1335292. Blauvelt, G., et al. “Integrating Craft Materials and Computation.” Knowledge-Based Systems, vol. 13, no. 7, Dec. 2000, pp. 471–78. ScienceDirect, […]
[…]as “Ours Lingages” for eloPorto, where we used language learning tools, collective writing, code, voices, dance, singing, audience participation and a blindfold, had a protocol that could be easily memorized and was not rehearsed. As using “behavioral art” was not an option, I had to find something else. Maybe “agency art” would be better. Arjen Mulder uses it in his article “The Beauty of Agency Art” from 2012. In this article, visiting thinkers as diverse as Shannon, Wiener, MacKay, McLuhan, Cassirer, Langer, Gell, Latour, Heidegger, Derrida, Badiou, Rancière, Danto, Whitehead, Steiner, Rolnik, Deleuze and Guattari, he sets out to see […]
[…](Benjamin). It writes with both the text and the metainterface; its data, material and code. Even if the data-realist third generation e-lit works highlighted here do not directly engage with what is typically called the ‘material’ of computational systems (i.e. the code), they take part in constructing and reconstructing the culturally shared imaginaries related to these systems, which are here considered to be equally ‘materialist’ as e.g. the code (Bucher). Often metainterfaces appear to be ‘smart’ and hide their functionality behind seemingly banal functionalities in order to be integrated ‘seamlessly’ into reality, but they also come with grammars-of-action (Agre). These […]
[…]flatness. Analogously, Christopher Funkhouser suggests in Prehistoric Digital Poetry (2007), poets working with code have long sought to create texts that “make their essence apparent,” (3) that make legible and unmistakable their algorithmic bones. A poem that passes a poetic Turing Test will have instead cleverly obscured its digital nature. Moreover, such tests often take as their standard the well-worn forms of literary inheritance – sonnets, haikus, etc. (This includes, we should note, the Neukom Institute’s “Turing Tests in the Creative Arts”; Rockmore founded this contest and Booten is a former competitor.) To add to Funkhouser’s observation about the modernist […]
[…]David. M. Critical Theory and the Digital. London: Bloomsbury, 2014. Print. Berry, David and Anders Fagerjord. Digital Humanities: Knowledge and Critique in a Digital Age. London: Polity Press, 2017. Print. Broken English. “Memes.” http://brokenenglish.lol 23/8/2019 Flores, Leo. “Third Generation Electronic Literature” electronic book review. 4/7/19 http://electronicbookreview.com/essay/third-generation-electronic-literature/ Hayles, N. Katherine. Electronic Literature: New Horizons for the Literary. Indiana: Notre Dame UP, 2008. Print. Hight, Craig. (2008) “The field of digital documentary: A challenge to documentary theorists” Studies in Documentary Film 2:1, pp3-8 Keating, Abigail. “Video-making, Harlem Shaking: Theorizing the interactive amateur” New Cinemas 11.2+3 (2013): 99-110 Montfort, Nick. “A Web Reply […]
[…]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 […]
[…]by self-driving cars. But we also need to keep asking these questions backwards, applying this critical frame to earlier navigational regimes. For most of human history the ship was the fastest we could travel, the furthest we could think. It’s no mere coincidence that the logo for Netscape Navigator, the world’s first widely publicly accessible web browser, combined a distant horizon and a ship’s wheel. The ship’s passage is defined by a rudder, a vertical blade at the stern of the ship that can be turned horizontally to change the ship’s direction when it is in motion. The word ‘rudder’ […]
[…]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 […]
[…]life sciences fieldworkers. This connection was made when some participants from my Glider study group were asked to use Diffraction during nighttime wildlife spotting routines, in order to consider how this may affect their experience with the more–than–human world. However, this preliminary involvement of participants is still ongoing.+++ References: Aagaard, Jesper. “Introducing Postphenomenological Research: a Brief and Selective Sketch of Phenomenological Research Methods.” International Journal of Qualitative Studies in Education, vol. 30, no. 6, 2016, pp. 519–533. Taylor and Frances Online: doi:10.1080/09518398.2016.1263884. Abram, David. The Spell of the Sensuous Perception and Language in a More–than–Human World. Vintage Books, 1997. Armstrong, Keith. “Embodying […]
[…]project”), where it has garnered a fanbase committed to ensuring that the IF continues to have working emulators (such as Gargoyle or Windows Frotz) on which to run. In view of this, it is possible to discuss the omission of Slouching from the three ELC volumes without chagrin or fear for the longevity of the work. As Joseph Tabbi level-headedly pointed out while setting a direction for the Electronic Literature Directory in 2007, [p]romoters of e-literature should avoid sounding too disappointed about the ‘loss’ of established works of e-lit whose platforms are now outdated […] the vast majority of past […]
[…]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 […]
[…]Ecco, 2017. Hecht, Paul J. “Distortion, Aggression, and Sex in Mary Wroth’s Sonnets.” SEL Studies in English Literature 1500-1900, vol. 53, no. 1, 2013, pp. 91–115. Project MUSE, doi:10.1353/sel.2013.0000. Klein, Richard. “The Future of Literary Criticism,” Literary Criticism for the Twenty-First Century, special issue of PMLA, vol. 125, no. 4, 2010, pp. 920–23. ProjectMuse. Klimas, Chris. “Twine: Past, Present, Future.” chrisklimas.com. 21 June 2019. https://chrisklimas.com/twine-past-present-future/. Levine, Caroline. Forms: Whole, Hierarchy, Network. Princeton University Press, 2015. Ligman, Chris. You Are Jeff Bezos. 2018. https://direkris.itch.io/you-are-jeff-bezos. Montfort, Nick. Twisty Little Passages: An Approach to Interactive Fiction. MIT University Press, 2003. Moulthrop, Stuart. “Stuart […]
[…]are not random (non-conscious) but formed within the social organization of our respective groups. Interestingly, this doesn’t mean that our feelings are not real or felt in our bodies, but rather that they are always representational, discursive. Wetherell’s explanation is thus an interesting way of approaching representation as the very foundation of our felt everyday lives. It also urges us to consider non-traditional spaces of meaning-making. Building on this, I argue that the routines and relational patterns that are created through the affective practices of care are themselves creating meaning; one that manifests itself not only in signs, codes and […]
[…]and K. Alysse Bailey called “‘These Waves …:’ Writing New Bodies for Applied E-literature Studies.” This essay originally appeared as keynote at 2019 Meeting of the ELO in Cork, Ireland, delivered by Astrid Ensslin. The Writing New Bodies (WNB) project serves to ground a field that they describe as applied e-literature research. In this case, this research occurs through having young women and non-binary people write about their identity and body image through interactive digital platforms (including popular digital storytelling tool Twine), which can otherwise be described as “digital-born bibliotherapy.” The essay is structured in five parts: The first section […]
[…]and analytical tools of postclassical narratology, ludology, applied linguistics, critical code studies, and semiotics (starting around the mid-2000s). Spear-headed by pioneering early hypertext reader-response work done for example by David Miall and Teresa Dobson, and further refined by scholars like Anne Mangen, Adriaan van der Weel, Colin Gardner, James Pope, and, most recently, by the UK-based “Reading Digital Fiction” research group (Bell, Ensslin, van der Bom, and Smith; see also Ensslin, Bell, Skains, and van der Bom), a third wave of e-lit scholarship has been producing empirical insights into how readers perceive, process, and communicate experiences of multilinear reading, of […]
[…]after another, adopt multiple voices, and carry a mixed assortment of messages and cargo. The code may not be the text – or all of the text – but here a glance at the work’s code helps illustrate the variety of locations, experiences and materials involved. Transmissions have numerous points of departure and arrival; they are situated in specific material locations or places of personal significance: [‘Canada’,’England’,’Ireland’,’Scotland’,’Wales’,’Cornwall’,’New Brunswick’,’Nova Scotia’,’Cape Breton’,’Newfoundland’,’Labrador’,’the Maritimes’,’the Scilly Isles’,’the Hebrides’,’the Orkneys’,’the New World’,’the old country’,’home’] Each message is not only geographically situated, but also embedded in a system of communication that has a technological and material, […]