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1. Interferences: [Net.Writing] and the Practice of Codework

   Codework refers to the use of the contemporary idiolect of the computer and computing processes in digital media experimental writing, or [net.writing]. Some of the prominent practitioners include Alan Sondheim, who has given the practice and genre its name, Mez (Mary-Anne Breeze), Talan Memmott, Ted Warnell, Brian Lennon, and John Cayley. These writers also use different terms to refer to work: Mez composes in a neologistic "net.wurked" language that she has termed m[ez]ang.elle; Memmott uses the term "rich.lit"; Warnell names some of his JavaScript poems "codepoetry"; Lennon refers to "digital visual poetics"; and Cayley produces algorithmic, generative texts, or "programmable poetry." Writers and artists who have taken up the general practice of codework heed the mandate - "use the computer; it is not a television" - and strive to foreground and theorize the relations between interface and machine and so reflect on the networked environment that constitutes and is constituted by a digital text. The precise techniques vary, but the general result is a text-object or a text-event that emphasizes its own programming, mechanism, and materiality.

   Rita Raley - 05.05.2011 - 23:09

2. The Code is not the Text (unless it is the Text)

   An essay considering the nature of "codework" and arguing against the collapse of "code" and "text" into one category. Cayley considers the different modes of reading involved in reading works that may be read both as computational artifacts and as works of literature.

   Rita Raley - 05.05.2011 - 23:14

3. Computer Power and Human Reason

   Computer Power and Human Reason

   Scott Rettberg - 20.05.2011 - 10:43

4. Expressive Processing: Digital Fictions, Computer Games, and Software Studies

   What matters in understanding digital media? Is looking at the external appearance and audience experience of software enough—or should we look further? In Expressive Processing, Noah Wardrip-Fruin argues that understanding what goes on beneath the surface, the computational processes that make digital media function, is essential.

   Wardrip-Fruin suggests that it is the authors and artists with knowledge of these processes who will use the expressive potential of computation to define the future of fiction and games. He also explores how computational processes themselves express meanings through distinctive designs, histories, and intellectual kinships that may not be visible to audiences.

   Scott Rettberg - 20.05.2011 - 11:26

5. Switching Codes: Thinking Through Digital Technology in the Humanities and the Arts

   Half a century into the digital era, the profound impact of information technology on intellectual and cultural life is universally acknowledged but still poorly understood. The sheer complexity of the technology coupled with the rapid pace of change makes it increasingly difficult to establish common ground and to promote thoughtful discussion. 

   Responding to this challenge, Switching Codes brings together leading American and European scholars, scientists, and artists—including Charles Bernstein, Ian Foster, Bruno Latour, Alan Liu, and Richard Powers—to consider how the precipitous growth of digital information and its associated technologies are transforming the ways we think and act. Employing a wide range of forms, including essay, dialogue, short fiction, and game design, this book aims to model and foster discussion between IT specialists, who typically have scant training in the humanities or traditional arts, and scholars and artists, who often understand little about the technologies that are so radically transforming their fields.

   (Source: University of Chicago Press catalog)

    

    

   CONTENTS

    

   Scott Rettberg - 26.05.2011 - 10:40

6. Command Lines: Aesthetics and Technique in Interactive Fiction and New Media

   The Interactive Fiction (IF) genre describes text-based narrative experiences in which a person interacts with a computer simulation by typing text phrases (usually commands in the imperative mood) and reading software-generated text responses (usually statements in the second person present tense). Re-examining historical and contemporary IF illuminates the larger fields of electronic literature and game studies. Intertwined aesthetic and technical developments in IF from 1977 to the present are analyzed in terms of language (person, tense, and mood), narrative theory (Iser's gaps, the fabula / sjuzet distinction), game studies / ludology (player apprehension of rules, evaluation of strategic advancement), and filmic representation (subjective POV, time-loops). Two general methodological concepts for digital humanities analyses are developed in relation to IF: implied code, which facilitates studying the interactor's mental model of an interactive work; and frustration aesthetics, which facilitates analysis of the constraints that structure interactive experiences.

   Patricia Tomaszek - 27.05.2011 - 15:41

7. 2001 Electronic Literature Awards

   The 2001 Electronic Literature Awards organized by the Electronic Literature Organization feature two $10,000 prizes in fiction (won by Caitlin Fisher) and poetry (won by John Cayley). The competition judges were Larry McCaffery (fiction) and Heather McHugh (poetry). Five works were shortlisted in each category, and the prizes were announced at a ceremony at the New School in New York City.

   Scott Rettberg - 28.05.2011 - 12:26

8. New Media Poetry: Aesthetics, Institutions and Audiences

   This gathering was organized by Thom Swiss and Dee Morris. The conference focused on poetry composed for digital environments, explored cross-disciplinary and cross-cultural accounts of this work in the broader context of contemporary arts and culture.  The aims:

   • to look at the possibilities for poetry offered by the electronic convergence of words, images and sound
   • highlight the changing contexts in which literature is produced as a result of the electronic word
   • examine emergent reading possibilities and strategies
   • consider some of the new forms of distribution and archiving made possible by the Web.

   The website comes along with an online gallery. 

   Patricia Tomaszek - 28.05.2011 - 19:40

9. The Time of Digital Poetry: From Object to Event

   The Time of Digital Poetry: From Object to Event

   Eric Dean Rasmussen - 30.05.2011 - 10:58

10. Electronic Literature Organization 2008: Visionary Landscapes

    Electronic Literature Organization 2008: Visionary Landscapes

    Scott Rettberg - 30.05.2011 - 17:12

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