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[…]qualities in their navigation of changes to the world, I might describe DownDrift as an eco-critical version of Animal Farm for our times; however, the contemporary need for non-human perspectives persists, as the characters (cats, lions, ancient organisms, and so forth) do “human-exclusive things in non-human-exclusive ways.” Whether describing the ethics of hunting to eat, the continuation of vanity through constructed norms, or the experience of mortal fear, it seems that the way to write about the end of the world is to describe how what remains after the human will move on and adapt. How is that for mutation? * ebr is in the process […]
[…]and e-lit have much in common, sharing the “freedom to demolish/disassemble/reveal the actual code(s) of writing; freedom to appropriate materials, reconverting them upon new contexts; freedom to integrate different material configurations.” This essays covers a western tradition of humour in philosophical, cultural, and even religious treatments, revealing it to be associated with the subversive, as well as potentially the “inconsequential and irresponsible” in academia. Torres covers examples of e-lit that engage in the subversive—including his own PoemAds, Susanne Berkenheger’s The Bubble Bath, René Bauer and Beat Suter’s AndOrDada, exploring the use of parody in particular as a humour-evoking trope that is repeated in […]
[…]experimental approaches to creation, encompassing, in addition to his own writing, items from his working process that include drawings, charts, and other source material. The relevance of Higgins’ contributions persists now, with Sullivan and Kuhn noting that his work, which observes the dynamicism of content, media, and meaning, “help[s] us to imagine an approach to art and culture that values process over product and in so doing, stresses the human aspect of life in an increasingly mechanized and rapidly shifting society.” Indeed, amongst conversations in media theory that encompass transmedia, multimedia, and multimodality, the notion of intermediality offers a framework […]
[…]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 […]
[…]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 […]
[…]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 […]
[…]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, […]
[…]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, […]
[…]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 […]
[…]Dene Grigar and Leo Flores hosted a Zoom event called “A Toast to the Flash Generation”–a group of artists and writers from 1996 — 2020 who utilized Adobe Flash Player software. If you missed it, Dene graciously uploaded videos on Vimeo. If we must say goodbye, we might as well send off in style! Next month, we are releasing a special issue on “Canadian Digital Poetics,” co-edited by Dani Spinosa and Lai-Tze Fan, and featuring essays about Jordan Abel, J.R. Carpenter, Darren Wershler, among others. We are also featuring special interviews, including one with ELO Vice-President Caitlin Fisher, who wrote […]
[…]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, […]
[…]at the outset for analysis. The solo works of E-Lit may seem very backward and of no use for critical conversations within the broader discourse of E-Lit but my proposition is to question the paradigm of the electronic itself and consider to what extent people, in a space like India, can experiment on their own in spite of the digital divide. The understanding that emerges is that there is immense scope for collaboration and if I am to add a cliché: a spectre of E-Lit is circling India and it’s just a matter of time before it gets more wide […]