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[…]and only 24 exceed 1 billion dollars per year in sales revenue. The most exclusive and powerful group of publishers in the world are the five companies who last year had sales revenue of 4 billion dollars or more. Sales revenue on the other side of the financial spectrum though is more representative of contemporary publishing in the United States. It has been estimated that in the US alone, there are about 59,000 publishers with annual sales revenues of less than one million dollars, and about 47,000 publishers with publishing revenues of less than $50,000. It is at this point […]
[…]finding yourself by losing yourself in the white-hot chemical decomposition of cell.f in all its coded glory. Can you relate? AM: No. Though I probably could. 🙂 I’ve never thought of it as primarily networked but about getting rid of this distinction between words and pictures. For me, writing hypertextually is always a postcinematic writing, and while pictures work differently than words, their different networks (to steal your terminology) or the differences in their networks are erased. But it’s one thing to talk about that kind of writing and quite another thing to actually do it. The vogs are an […]
[…]of literature to consider new, post-critical ways to challenge neoliberal ontology.” Those post-critical ways, more likely than not, are given to us by the corporate structures and ontologies of the present—and not a few that have persisted from the past. America, love it or leave it? Where today would one go? Henry Turner’s advice, to “Love Your Corporation,” is again anything but satirical. In his analysis, Turner never rests with critique; he seeks rather to isolate earlier corporate entities —in churches and in kingdoms, for example, in towns, and in guilds whose purpose was to sustain specific, closely guarded trade […]
[…]elaborate on the intertwining of four dimensions in the translating process: translinguistic, transcoded, transmedial, and transcreational. Although I agree with the necessity of bringing together language, code and medium (after all, this is a continuation of the all-inclusive approach sketched above), I don’t know whether the transcreational dimension has the same status as the three other aspects. My reservations here are twofold. On the one hand, transcreation has become a kind of buzz word, which may lack the sharp focus that is needed to make sense of translinguistic, transcoding or transmedial operations. On the other hand, the term may be […]
[…]Millennium. London: Vintage, 1988. Print. Cayley, John. “Untranslatability and Readability.” Critical Multilingualism Studies 3.1 (2015): 70-89. Web. Accessed April 2018. Coetzee, John Maxwell. Diary of a Bad Year. London: Vintage, 2007. Print. Coetzee, John Maxwell. Elizabeth Costello. London: Harvill Secker, 2003. Print. Coetzee, John Maxwell. Summertime. London: Harvill Secker, 2009. Print. Coetzee, John Maxwell. Giving Offense. Essays on Censorship. Chicago: Univ. of Chicago Press, 1996. Danielewski, Mark Z. Only Revolutions. New York: Pantheon Books, 2006. Print. Encyclopædia Iranica. “Censoring an Iranian Love Story,”Last modified February 18, 2011. Web. Accessed April 2018. Esty, Jed. “Realism Wars.”Novel 49.2 (2016): 316-342. Web. Accessed April 2018. Foucault, […]
[…]and alienated by their noise. But do we understand their speech? They garble their way through unicode letter by letter.See Note 7. Code: https://github.com/jhave/Big-Data-Poetry [Comment: This section reflects on the material (technical, economic, political, cultural) situations of digital writing, positing it in a set of social conditions. More than a medium, and more than an organ, language is here understood as an externalized technology, or a prosthesis.] [Note 7: In his project Big Data Poetry (2014-2017), David Jhave Johnston uses machine learning techniques to generate strings of language. BDP uses a combination of techniques of visualization, analysis, classification and substitution […]
[…]contemporary reader. In this case, we sought to take into account the layered model of platform studies (Bogost and Montfort 2009) that allows a more detailed theoretical engagement with the one new dimension, the computational dimension, of electronic literature. Specifically, this model distinguishes reception, interface, form/function, code, and platform levels, explaining how each interrelate ant that context is connected to each. As Pressman did, we also discussed how the translation process for electronic literature specifically intersects with other contextual issues: In traditional works, the translator is often invisible, a background figure, sometimes subtly credited or even not mentioned at all. […]
[…]Press, 1996. Coover, Roderick. “The Digital Panorama and Cinemascapes.” In Switching Codes; Thinking through Digital Technologies in the Humanities and Arts, edited by Thomas Bartscherer and Roderick Coover 199-217. Chicago: University of Chicago Press, 2011. Coover, Roderick, and Scott Rettberg. Toxi•City: A Climate Change Narrative. 2014, 2017. http://crchange.net/toxicity. CR Change Production. Hansen, Miriam Bratu. “Benjamin’s Aura.” Critical Inquiry 34, no. 2 (2008), http://www.jstor.org/stable/10.1086/529060, 336-75. Hu, Tung-Hui. A Prehistory of the Cloud. Cambridge, Massachusetts & London, England: The MIT Press, 2015. Jackson, Shelley, Snow – a Story in Progress, Weather Permitting. 2014-. https://www.instagram.com/snowshelleyjackson/ and http://www.flickr.com/photos/25935290@N04/sets/72157639539497175, 2014-. Morris, Jeremy. “Sounds in the […]
[…]a complex non-linear view of the atomic world through the wave/particle duality, highlighting the codependence between observing apparatus and observed object. The notions of probability, quantum codependence, quantum entanglement and general relativity provide the fundamental analogies and metaphors for extrapolating from nuclear physics and astrophysics into the social field. Drucker’s appropriation of notions from the general theory of relativity and from quantum mechanics to describe the social medium can be summarized in two formulations: a) social spacetime (“social atmosphere” is the concept used in the GTSR) is relationally constituted as a field of interactions whose agents are brought into being […]
[…]Thus, this gathering positions the authorship of electronic literature as threefold: an author or group of authors who initiate creation, the technology which makes significant cognitive decisions in the production of the work, and a readership that alters the work as they read and engage on a sensory level. All in all, this gathering is designed to immerse electronic book review readers into the discussions and debates that occurred at and surround the 2018 Arabic E-lit Conference in Dubai. As such, it is crucial that I end by reminding our readers that the ebr began and continues as an open-source […]