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[…]these three books – inclusive because it subsumes the private and public foci of the first two studies, and sophisticated because its perspective is essentially philosophic and self-reflexive. Van Wyck, as humanist, has mastered (for good or ill) the language of cultural studies that Kroll-Smith and Floyd bumbled so heavy-handedly and uses it as the medium for analysis of the crippling deficiencies of deep ecology as a type of environmentalism. Van Wyck’s prose, however, is far from exemplary, blighted by numerous obscure passages (endemic to cultural studies), occasional solecisms and syntactical blunders, and deficiencies of copy-editing. Still, if you can […]
[…]just a different calendar (?) – smaller portions, even individual units published at a time (no critical mass? individual attention?) – all essays “current”? – conceptually, the journal becomes a whole, its past is its present – the growth, history, and activity of the journal actively contribute to its appearance – this issue of the journal being whole – the journal itself becomes a corpus, a library, a larger work built of inter-related parts – are we making the whole too dominant? – nothing is replaced by more current versions – greater continuity between themes (?) – opportunity for reconfiguration […]
[…]“critifictional” responses to the issues of the day, for example, the ETOYS vs. ETOY fight now working its way into both the net art/theory community and the mainstream e-commerce media cycles) – it means the journal is wholier-than-thou, always expanding, monster-like, unpredictable, but with editorial vision – it means this editorial process becomes more focused on our theme of “gathering threads” and involves a more dynamic interweaving process that is faciliated by the database/machine/application Ewan’s idea of creating an interface that would “begin to reorganize the connections and groupings in ways other than those intended by the editors” so that […]
[…]address of every person who has contrbuted to ebr. out of that core group (of readers who are also critical writers), we may want to tag each one with a “thread” or group of threads defining that reader’s unique set of interests (green or gray ecology; poetics; image + narratve, etc). this way, when a new essay is posted on a given subject, i (or my collaborating editor) can “automatically” identify readers with a demonstrated interest in a given subject. in other words, the threading concept might be used to help us articulate structures in our audience that answer to […]
[…]a kind of writing, which is then retroactively revealed to have been “noisy” all along. Working from the perspective of sound as one of the “spatial arts,” future contributors to this thread might raise the question of how one should navigate through the rhetoric of noise (while filtering the noise of rhetoric). Who wants to remix this noise into pseudo-autobiographical narrative? mystory? critifiction? Why did Progressive Networks change their name to Real Networks in the year 2000? And what about the Senator from Washington state, the 42-year-old Maria Cantwell who funded her campaign with moneys cashed in from her job […]
[…]asserts the importance of visual aesthetics to e-poetry; and the last two lines – “grep -i code * /*” (a Unix program command) and “HTTP Error 404” (the error code for a broken link on the Web) – point to the shortcomings of traditional hypertext and the possibilities of programmed texts. If the arc from hypertext to programmable media serves as the background for Glazier’s arguments, then the main focus of the text can be derived from the larger red text. The acrostic text invites multiple readings. If “Dig[iT]al Poet(I)(c)s” is the natural first reading, then it doesn’t take long […]
[…](1985). But as early as 1981, building on Oulipo’s work on combinatory literature, the ALAMO group had been launched. JR The aim of Raymond Queneau and FranÁois Le Lionnais, when they founded Oulipo, was to unite mathematicians and writers who were interested in literary creation under formal constraints. The Oulipians, while acknowledging their “plagiats par anticipation” (lipograms, palindromes, etc.), strived to define and moreover to invent new literary forms using non-trivial mathematical structures. Among the various existing sources, Oulipians were naturally attracted to the writings of Jean Meschinot (1490) and those of Quirinus Kulhmann (1660) who tried quite early to […]
[…]has said that he believes his core audience will be “younger readers used to working with web pages with multiple texts,” and he said he persuaded his publisher to serialize House of Leaves on the Internet. This is an interesting experiment because the future medium for monstrous fictions may well be electronic, where space is cheap and distribution can be world-wide. Because of its mass and excess, House of Leaves will probably make its publisher some money, but most novelists complain about decreasing outlets for experimental work like Danielewski’s. monstermedia And that’s why I want to discuss two hypertexts, Shelley […]
[…]and books ought to be capable of joining with digital media in the work of mapping, rewiring, renetworking the same old pool of elements in new ways (to cite the Seattle collective, In.S.Omnia, reviewed in this issue by Paul Harris). In this spirit of recombination, ebr will go on reviewing books in print (preferably before they are out of print. By taking advantage of the more streamlined electronic production process, an electronic journal should get around to covering small-press, scholarly, fringe, and other small-run titles within the period of their limited shelf life). Yet the term book in our title […]
[…]of traditional Chinese stories, myths, American grade school recitations, American cultural codes of femininity, and more – acts of recitation that always take place with modifications. As he concludes that these oppositional acts of recitation never lose their attraction to the discourse of the American dream, Douglas argues the extent to which the narrators employ ideological material [by which they position themselves in the larger social body] as a language that fundamentally enables reflection, affection, and action — albeit in certain established paths and trajectories. (13) Hence, Reciting America shows a keen appreciation for the consequences of engaging in politics […]