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[…]of contemporary e-lit and AI enhanced writing. In a book that is both aesthetic and machinic, critical and creative, Jones explores the nature of writing itself “and, indeed, reading, in an environment saturated by the rhythms and predilections of digital code.” * Lastly, we would also like to remind you that Issue 03: Counter-Works of The Digital Review, edited by Carlota Salvador Megias and Ian Hatcher, has a call for works that is NOW DUE Wednesday, February 1st, 2023. Submit using this form. – Lai-Tze Fan Editor and Director of Communications, […]
[…]to consider the nature of the fringe as a form of frontier. In areas such as new media festivals, critical commentary, and public intellectualism in New Media and Electronic Literature, he was anything but a marginal figure. Jeremy Hight was a pioneer of the intersection of theory and praxis, as seen from 34 north to Biomimetics and Shifting Language, one of his last theoretical texts written for the NeMeArt Center in Cyprus (2021). His work and texts constantly broke expectations and mixed speculation with emerging technology and culture. As with many writers, Jeremy had a fierce soul. This is understandable, […]
[…]that enable and delimit the digital encounter. It is here that Jones notes how artists ‘working in experimental poetry and the critical off-shoots of poetry called ‘poetics’ often conceive of language as a system of logics that can be bent and broken to deviate from the conditions of the sayable delimited by existing norms’ (22). This crafting of errancy may lack the viscerally disruptive, often unwelcome surprise brought about by the functional unravelling of digital systems, interfaces, and working patterns, but they still provide a matrix through which to read diffractively the complex (and frequently frictional, uncertain) entanglements of the […]
[…]account of these sorts of speculative and critical practices can be found in Daniela K. Rosner’s Critical Fabulations: Reworking the Methods and Margins of Design. Although it is more about industrial design than about labs, Rosner’s work also performs a critical reading against the historical grain to focus on speculative possibilities by recentering innovation around those who have been pushed to the margins of design. And for anyone looking for other examples of these practices beyond those already mentioned in The Lab Book: Allied Media Projects represents a network of scholars, community organizers, hackactivists, and citizens raising critical awareness about […]
[…]Sondheim’s eclectic and stylistic meditations on the limits of philosophy, language, and code, expressed through the author’s hybrid art and research projects. In “United Forces of Meme in Spontaneous Netprov,” Anna Nacher explores the emergence and spread of the viral hashtag “Kralovec,” a satirical Czech language meme protesting the Russian annexation of Ukrainian territory in September 2022. In discussing the social and political impact of memes as collaborative sites of making meaning through media, Nacher analyzes the “creative frenzy” that emerges when protest becomes memetic. In this month’s interview, “Riderly Waves of Networked Textual Improvisation,” a companion of sorts to […]
[…]the “muteness of the real” (15), to make that theory or poem or gesture or sound or artwork or codework that would finally enunciate the origin (and so also the end) of language, meaning, value, life, etcetera. He thereby establishes a topology of “this side” and “that side,” or inside and outside. “I like to believe I’m working on a frontier,” but “beyond the Pale there’s nothing but the agony of shadows” (123). And the book then becomes an expression of the horrifying, impossible wish to travel to the other side, and also a journal of the repeated failures to […]
[…]time was raising funds to support the Georgian National Legion in Ukraine (Scott). However, the group’s weapon of choice is the ubiquitous “doge,” or Shiba Inu—badly represented, sometimes bordering on the aesthetics and ontologies of dank memes. Activists call themselves “fellas” (just like @SniperFella who proposed NewFellaLand) and specialize in viral content aimed at combating Kremlin war propaganda, including videos of the Russian army set to music, intently mocking the efforts of occupiers. Along with @SaintJavelin (a fundraising movement established in February 2022 by Chris Borys, a journalist with ties to Poland and Ukraine) they constitute a swarm of digital […]
[…]play. When I hear them, I hear that magical thing that happens in childhood where you’re all working together to create a virtual something and they’re working it out and they’re tussling a little bit about what the reality is. But it’s in that tussle that the reality gets defined. And that it can happen inside netprovs is really exciting and could be interesting for social change. Anna Nacher Thank you. Thank you so much. Yeah, we have this ongoing discussion on how electronic literature can actually contribute to social change, the required social change. So I think netprov definitely […]
[…]social and environmental issues. David Bowie said of art: “If you feel safe in the area you’re working in, you’re not working in the right area. Always go a little further into the water than you feel you’re capable of being in. Go a little bit out of your depth. And when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting” (Bowie). Humanity (and technology) progresses with experimentation and it’s the weirdo visionaries that call on us to rethink what we know, reimagine what it means to […]
[…]disciplines such as literature, history, philosophy, film and media, cultural studies, religious studies, cultural geography, and anthropology. This vibrant area of research and teaching falls under the umbrella term “the environmental humanities.” [2] That said, there is certainly much more to discuss vis a vis Wolfe’s engagement with Luhmann via Stevens, Derrida, Heidegger, Maturana and Varela, etc. [3] This is a concept that repeats in Stevens’s “Connoisseur of Chaos,” with the opening stanza: “…A great disorder is an order. These / Two things are one…” (CP 215). [4] As A. Seidenberg writes in “The Ritual Origin of the Circle and […]
[…]and notions of “talent” and “genius”–is the expansion of collaborative practice, from working with other artists to working with computers through generative and automated methods of creation. Amerika continues to see working with the AI language models GPT-2 and GPT-3 as a “meta-remix gam session,” where the jam session itself produces new considerations of self and collaborative others—the rich stuff of his book. –Lai-Tze Fan Editor and Director of […]
[…]as we please, but at any moment a single key stroke takes us back to a chronologically organized group of nodes (a Stream) or a semantically affiliated narrative vignette (a Path). Years of Stuart Moulthrop’s experience as a mentor and teacher of digital literature, and as a practicing hypertext scholar and writer, are built into the anniversary edition of Victory Garden. Navigational apparatus and main concepts that help us traverse this dense network of stories are – at least in theory – closer to mapping the three dimensionality of hyperspace than many visual tools. On the title page of the […]
[…]to think logically about what you’re doing, you just do it, intuitively, but patterned off the critical dataset of source material and experiential filters you’ve trained yourself to access and auto-remix over time. It’s a very physical experience and reminds me of professional athletics. It’s where athletics meets aesthetics. Meanwhile, right before and during the pandemic, which was when the book was being written, I was reading the fiction of Clarice Lispector. Not since my engagement with postmodern fiction and post-structuralism, had I become so entranced by a writer. The first time I had heard of her work was through […]
[…]have an idea and we’ll kind of run with it as a group and the idea evolves and it just becomes a group project over time. And so we met as a group last year in May. And then throughout the summer, we met and we were talking about what kind of project can we make now as a lab that is pretty much relegated to meetings on MS Teams. That’s the platform that the school uses. You know, not just socially distanced, but really distanced. I mean, really, like some of our members are isolating in their hometowns, which […]
[…]sections, Bigelow lists the code for “the Cage text,” which you need to cut and paste into a code converter Bigelow links to. For your labor, you see that the code repeats this sentence over and over: “I have nothing to say, and I am saying it.” The point of all this work isn’t to get to Bigelow’s subjective interior—it’s an homage to Cage’s own play with expectations, dramatizing the mental framework we bring to bear when we an encounter aesthetic object. It also prompts thinking about the work we don’t always realize that we do when we process language […]
[…]journal. Vernacular by default, the early web was made of half-finished homepages, alien looking code, broken links and error messages. It was also a period of creative possibilities and utopian dreams for free personal expression in networked groups. With few large hubs to connect people, islands of communities formed around trying to figure out what the web might be. Lialina’s own innovative digital art, as with the “net art” movement in general, was made in the context of this emerging web folk culture. She writes: “…although I consider myself to be an early adopter–I came late enough to enjoy and […]
This special gathering collects reflections of the Critical Code Studies Working Group 2020 (CCSWG ‘20), a biannual meeting to explore the intersections of humanistic inquiry and computer code studies. Coordinated by Mark Marino (USC), Jeremy Douglass (UCSB), and Zach Mann (USC), the 2020 Working Group was held online from January 20 to February 3. It brought together more than 150 participants from around the world to share ideas, populating dozens of discussion threads with hundreds of comments, critiques, and critical readings. The need to attend to code could not be more urgent. Code exerts a regulatory effect over society and […]
Main Thread: http://wg20.criticalcodestudies.com/index.php?p=/discussion/87/week-3-feminist-ai-main-thread According to its 2019 fourth quarter earnings report, Google nets $15 billion US dollars annually, and the building block of its revenue is ad sales from Search. As the internet began to expand in the early 1990s, the need to search its uncatalogued environment became a critical building block for digital interconnectedness. Two approaches to the logic of searching the internet emerged: American investor Bill Gross promoted search results as sites to be auctioned to the highest bidder, while Larry Page and Sergey Brin vehemently opposed advertising and developed an algorithm. These two search logics (algorithm or […]
Main thread: http://wg20.criticalcodestudies.com/index.php?p=/discussion/70/week-2-indigenous-programming-main-thread Despite being taught around the world, programming languages are written primarily in English. Why is English our default? While an increase in support for the international text encoding standard Unicode has allowed developers to create computing languages in their native tongues, their widespread adoption is far from the norm. In Week Two of the Critical Code Studies Working Group, Dr. Jon Corbett (a Cree/Saulteaux Métis media artist, computer programmer, and sessional faculty at the University of British Columbia), Dr. Outi Laiti (a Sámi Associate Researcher at the University of Helsinki’s Indigenous Studies program and project manager at […]
[…]to Critical Code Studies (Main Thread).” CCS Working Group 2020, http://wg20.criticalcodestudies.com/index.php?p=/discussion/57/week-1-introduction-to-critical-code-studies-main-thread. Marino, Mark C. Critical Code Studies › Electronic Book Review. 31 Jan. 2012, […]