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[…]does not imply free will but rather the implementation of behaviors programmed into the genetic code” (25). This definition of cognition as related to choice allows Hayles to distinguish between what she calls cognizers and noncognizers (30): “On the one side are humans and all other biological life forms, as well as many technical systems; on the other, material processes and inanimate objects” (30). As she explains, “The crucial distinguishing characteristics of cognition that separate it from these underlying processes are choice and decision, and thus possibilities for interpretation and meaning. A glacier, for example, cannot choose whether to slide […]
[…]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 slapstick. Under language speaks to both the necessity to notice how writing intersects code, and the consequences of a collision (collusion?) when poetry meets code. So, “under language” underlies and infuses Under Language, which is, fundamentally, a generative textual work, meant to be experienced visually, on the screen. But the brilliance of this work is Moultrop’s sonification of the underlying five layers of computer code. The first is a series of computer-voiced renditions of ActionScripts programmed by Moultrop that operate the work. The second layer is a series of ambient recorded collages of tunings across radio broadcasts. The third […]
[…]26 August 2018. https://nickm.com/post/2018/08/a-web-reply-to-the-post-web-generation/ NPD Group. “Instapoets Rekindling U.S. Poetry Book Sales.” https://www.npd.com/wps/portal/npd/us/news/press-releases/2018/instapoets-rekindling-u-s–poetry-book-sales–the-npd-group-says/ 2018. Nacher, Anna. “The Creative Process as a Dance of Agency: Shelley Jackson’s Snow: Performing Literary Texts with Elements,” in Digital Media and Textuality: From Creation to Archiving, ed. Daniela Côrtes Maduro. Bremen. 2017. Reed, Rob. “Everything You Need to Know About Emoji.” Smashing Magazine. 14 November 2016. https://www.smashingmagazine.com/2016/11/character-sets-encoding-emoji/ Rettberg, Jill Walker. “A Network Analysis of Dissertations About Electronic Literature.” Paper presented at the 2013 Electronic Literature Conference. Paris. http://conference.eliterature.org/sites/default/files/papers/Jill-Walker-Rettberg-A%20Network%20Analysis%20of%20Dissertations%20About%20Electronic%20Literature.pdf Rettberg, Scott. “Room for So Much World: a Conversation with Shelley Jackson.” EBR. 6 January 2019. https://electronicbookreview.com/essay/room-for-so-much-world-a-conversation-with-shelley-jackson/ […]
[…]reads through and finds the appropriate match. LS: What did you use to author the bot? NL: I just coded in Java. LS: Are you willing to share your code? NL: No, sorry. A number of people asked, but they wanted to use it for the opposite intent. Happy to send bits of the bot that would be useful in themselves but not really the bot itself. There were a number of people asking to buy it, and I think that was really why it was shut down in the end. Some people thought I had stepped over a line […]
[…]social problems, fill educational voids, and offer disaster relief in the built environment. The group’s social platform marries collaboration, education, environmental responsibility, and architecture. The ideals funded and promoted by Architecture for Humanity are wholly opposed to the totalitarian ideologies promulgated by the Pinochet dictatorship that systematically organized the torture of more than thirty thousand citizens and the disappearance of at least fifteen hundred. In submitting their proposal to the Open Architecture Challenge, then, AGC sought support from a nonstate, nonprofit entity committed to rebuilding and empowering communities in the wake of disaster. The reappropriation of this site of torture […]
[…]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 […]
[…]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, […]
[…]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’ […]
[…](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 […]