[…]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 […]
[…]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 […]
[…]on the screen; social performance, or how digital texts “perform” us; the performance of codes and scripting; and the performance of the machine itself, i.e., what does an engineer mean when s/he talks about performance? Performance means that a process is underway; it is an event rather than an object. Ian Bogost’s (2007) concept of “procedural representation” further highlights the uniqueness of digital works in relation to performativity: [procedural representation] explains processes with other processes. Procedural representation is a form of symbolic expression that uses process rather than language. […] Procedural representation itself requires inscription in a medium that actually […]
[…]of a machine that easily mimics human expression. And yet, it is human language (not computer code) that is the primary method by which these tools take instruction and learn. As Scott Rettberg recently wrote in an AI writing listserv: “writing, interlocution, becomes the essential thing again.” AI technology and its cultural impacts are changing so rapidly that ebr editors are now opening the journal to more informal submissions for the machine-writing thread. Along with the traditional essay, we welcome blog posts, riPOSTes, reviews of AI art or AI tools, audio/visual media, transcribed conversations or interREviews, marginal glosses and experimental […]
[…]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 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, […]
[…]of imaginations”. So, is the poem enacting an anxiety of the speaker, afraid that the mic is not working, concerned that use of a traditional form (whether it be the prosaic bullet point or the more flowery sonnet) will fail to switch on the hearing of the audience? If so, what does the speaker want us to hear? The only clue we can reliably follow from “Emergent Emergencies” and the other four bullet point poems is the end-stopping of each line which suggests that meaning is at best discontinuous, and that propositions may prove false or misleading guides. A line […]