[…]Words, contagion… infinite incubation—buried deep… within cellular structures—whispering code… the epidemic… of syntax. Bacterial in nature… or viral—language, a parasite—a mutation—lurking beneath the tissue of the tongue—infected… the throat—a maze… of Greek heroes and… Egyptian deities… spread through osmosis—dripping… from the mouths of… pirates… navigating the seas of… reason. Ulysses… eye… a scalpel—slicing through… Could any of the pseudo cutups we generated be passed off as fragments of Burroughs? Yes, at least to non-experts. That would accord with the conclusion in a recent paper which recounts carrying out a similar attempt to mimic the style of H. P. Lovecraft. They […]
[…]labour among Korean youth working as fashion brands’ “supporters”. During her bachelor’s studies in Art & Technology and Gender Studies at Sogang University, she co-authored an article on the cultural politics of feminist comedy podcasts and the significance of podcast platforms as digital feminist […]
[…]and writing – a process which I discussed in some other ebr publications as well as in Switching Codes (2011). At the same time that I was working on that series of nonfiction works in the desert southwest of the United States, I was starting more experimental collaborations with fiction writers and poets. One of the first of these was a fragmented panoramic narrative project filmed in Mexico City with author Deb Olin Unferth and entitled Something That Happened Only Once. In this project, song fragments narrativize the actions of individuals picture upon a rotating panorama in impossible ways, spinning […]
[…]this a little bit, was the idea that in your scholarship, you have a lot of references to game studies and media studies, but also the psychology and psychotherapy, all the way back to Jung, to the present, neurobiology and cognition and theories like Joseph Campbell, who are kind of connecting story and psychology. So, there’s a lot of connections to narratological ways of thinking and really exciting interdisciplinarity, I guess you’d say, which is one of the things we’re trying to think a lot about with the Center for Digital Narrative. What happens when we bring these different perspectives […]
[…]Bruxelles: De Boeck & Larcier, 1996. Landow, George P. Hypertext: the convergence of contemporary critical theory and technology. Parallax. Baltimore: Johns Hopkins University Press, 1992. Marshall, Eric, untitled poem, 3rd International Obfuscated C Code Contest, 1986. https://www.ioccc.org/1986/marshall/marshall.c Nichol, Barrie Philip. First Screening. Toronto: Underwhich Editions, 1984. Papp, Tibor. Orion. alire n° 11 (2000). Rapkin, Lewis, Automatic on the road, 2018 (video). Strachey, Christopher. « The “thinking” machine ». Encounter, no 13 (October 1954): 2531. Vian, Boris. « Un robot-poète ne nous fait pas peur ». Arts, no 1016 (April 1953): 21926. Winder, William. « Le Robot-poète : littérature et critique dans l’ère électronique ». In Littérature, […]
[…]work, bridging the gap between cultural studies, history and sociology, is focused on critical animal studies and environmental humanities. In her PhD thesis she analyzed cultural and ideological ramifications of rat control programs. Currently she works on changes in breeding practices in rural Poland before 1989, in order to understand conceptual and material relations between animals, socialism, agriculture and modernity. Her book “Species Cleansing. The Cultural Practice of Rat Control” was published by Vandenhoeck & Ruprecht Verlag (Imprint of BRILL Deutschland) in 2024. Other publications: “Unveiling Dark Sites: Urbex/Rurex as a Method in Critical Animal History”, Journal of Contemporary Archaeology, […]
[…]Cruz, where he codirects the Expressive Intelligence Studio, a technical and cultural research group. He is the author of How Pac-Man Eats (2020) and coeditor of The New Media Reader (2003), among others. Computational media projects on which he has collaborated have appeared in venues such as the Whitney Museum of American Art and the IndieCade festival. Noah Wardrip-Fruin […]
[…]review, “Mister Squishy, c’est moi: David Foster Wallace’s Oblivion,” is posted on ebr‘s Critical Ecologies thread. Kiki Benzon is an assistant professor in English and a student in neuroscience at the University of Lethbridge, Canada. She edits the Fictions Present thread at ebr and has published essays on mental health, new media, and contemporary literature. Her review, “Mister Squishy, c’est moi: David Foster Wallace’s Oblivion,” is posted on ebr‘s Critical Ecologies […]
[…]a collaboration with Mark Amerika and Rick Silva. Trace is Assistant Professor of Digital Media Studies at the University of Denver, and the graduate director of the M.A. in Digital Media Studies. More on Trace […]
Lori Emerson is Associate Editor for ebr. Her critical work can also be found in The Emily Dickinson Journal, Postmodern Culture, Leonardo Electronic Almanac, and Cybertext Yearbook. She’s co-editor of The Alphabet Game: A bpNichol Reader (Coach House Books, 2007). Emerson is Assistant Professor of digital media in the Department of English at the University of Colorado at Boulder. Lori Emerson is Associate Editor for ebr. Her critical work can also be found in The Emily Dickinson Journal, Postmodern Culture, Leonardo Electronic Almanac, and Cybertext Yearbook. She’s co-editor of The Alphabet Game: A bpNichol Reader (Coach House Books, 2007). Emerson […]