How does one write science fiction when the atom bomb (and later 9/11) makes the future seem impossible to predict? Justin Roby reviews Paul Youngquist's Cyberfiction: After the Future, which explores how postwar "cy-fi" critiqued life in the age of cybernetic control systems.
How does a sample of de Quincey's Confessions of an English Opium Eater give birth to a mutant, six-fingered hand? This essay articulates the logic of Noon's 2001 experiment in constrained writing, which concretizes the play of signal and noise, pattern and randomness, in the flow of information. In the process, the critic suggests, Noon dramatizes how printed texts rupture and reassemble when they are transferred to electronic media.
graphics: Artists Rights Society; Performance for MIDI keyboard, pianola configurations, and click-track:G. Schirmer Rental; studio portrait of Hedy Lamarr: Roy George and Associates.
Over 800 pages, the New Media Reader does not exhaust its subject; it even sets the stage for a companion volume.
Cyberpractitioner Diane Gromala celebrates virtual immersion's unsteady body-knowledge.
U.S. cybernetic pragmatisim and practical Net expertise interest Moulthrop (and his auditors) on "second thought."
Darren Tofts and Lisa Gye introduce the collection of essays, appearing here in the electropoetics thread, from the Alt-x e-book The Illogic of Sense.