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1. Where Are We Now?: Orienteering in the Electronic Literature Collection, Volume 2

   In an increasingly monolingual, globalized world, the second volume of theElectronic Literature Collection may just offer a map of the territory. The question the reviewer, John Zuern, poses is how do we navigate this terrain going forward? (Source: ebr.)  

   Eric Dean Rasmussen - 06.04.2012 - 17:14

2. Dada Redux: Elements of Dadaist Practice in Contemporary Electronic Literature

   Too often the discourse surrounding contemporary digital art and electronic literature treats these artifacts as if the most compelling aspects about them are their novelty, their very newness. One need look no further than the theme of the 2007 Digital Arts and Culture Conference, ‘The Future of Digital Media Culture’, to see this. Because our orientation is always forward towards the future, we are inclined toward a kind of myopia, and reluctance to look at the new through the lens of the past. With this orientation, there is furthermore a danger of placing too high a value on novelty at the expense of other aesthetic and ideological criteria. We see this in new media art discourse again and again. Turf wars regularly take place over ‘firstness’ – which designer was the first to use this technique, who was the first to integrate this type of programming into a new media artwork, etc. We are clearly in the midst of a global communication revolution that has changed the practice of daily life in far-reaching ways, and it is important to recognize, identify, and contemplate those aspects of our culture that are changing so rapidly.

   Patricia Tomaszek - 13.04.2012 - 15:34

3. Digital Magic: Preservation for a New Era

   Kirschenbaum makes an "argument for the importance of digital preservation while describing how how he accessed SWALLOWS via an Apple // emulator and then provided Zelevanksy with the original .dsk file from which he then created a new version of SWALLOWS (with audio and video clips mixed in) called G R E A T . B L A N K N E S S" (Source: adapted from post at loriemerson.net).

   Eric Dean Rasmussen - 25.04.2012 - 08:55

4. An Interview with Jason Nelson

   This interview appeared alongside three works by Jason Nelson in Cordite's Electronica issue, giving insight into Nelson's creative practices and digital poetry.

   Patricia Tomaszek - 04.05.2012 - 00:11

5. Interview with Pauline Masurel

   Conversation between Jim Andrews and Pauline Masurel about the conceptual ideas and practices behind the creation of Blue Hyacinth. The original Blue Hyacinth notebook was a six-month online experiment to write a text for each day, all somehow reflecting the theme of blue hyacinth.

   Patricia Tomaszek - 04.05.2012 - 13:57

6. Distributed Matters: Production of Presence and the Augmented Textuality of VR

   The paper proposes a descriptive (i.e., non-hermeneutical/presence-driven) reading of the virtual reality work Screen by Noah Wardrip-Fruin et al. (2002) designed for Brown University’s CAVE. Because of the non-triviality of its demands, one might argue that Screen is as much about its theme (memory/forgetting) as it is a self-referential study on VR as a literary medium. In this context, seemingly incompatible notions such as those of "flickering signifiers" (Hayles, 1999) and “presence effects” (Gumbrecht, 2004) can operate as coextensive tropes of analysis. Are we to speak of a new phenomenology of language wherein processing protocols precede literary semiosis? Does proprioceptive awareness of the linguistic mark not also trigger a concurrent semiotic reaction obligatorily leading to an act of interpretation?

   Eric Dean Rasmussen - 07.05.2012 - 12:17

7. Chuva de letras: de presenças, ausências de literatura digital

   Chuva de letras: de presenças, ausências de literatura digital

   Patricia Tomaszek - 08.05.2012 - 15:13

8. Proposal for a Universal Electronic Publishing System and Archive

   Excerpt from chapter 2 of Literary Machines. Susalito, CA: Mindful Press, 1981.

   Eric Dean Rasmussen - 14.05.2012 - 15:34

9. Beyond Myth and Metaphor: Narrative in Digital Media

   The concept of narrative has been widely invoked by theorists of digital textuality, but the promotion of what is described as the storytelling power of the computer has often relied on shallow metaphors, loose conceptions of narrative, and literary models that ignore the distinctive properties of the digital medium. Two myths have dominated this theorization. The myth of the Aleph (as I call it) presents the digital text as a finite text that contains an infinite number of stories. The myth of the Holodeck envisions digital narrative as a virtual environment in which the user becomes a character in a plot similar to those of Victorian novels or Shakespearean tragedies. Both of these myths rely on questionable assumptions: that any permutation of a collection of lexias results in a coherent story; that it is aesthetically desirable to be the hero of a story; and that digital narrativity should cover the same range of emotional experiences as literary narrative. Here I argue that digital narrative should emancipate itself from literary models. But I also view narrative as a universal structure that transcends media.

   Eric Dean Rasmussen - 15.05.2012 - 14:07

10. What Hypertext Is

    Over the past couple decades, as the term "hypertext" has gained a certain popular currency, a question has been raised repeatedly: "What is hypertext?" Our most respected scholars offer a range of different, at times incompatible, answers. This paper argues that our best response to this situation is to adopt the approach taken with other terms that are central to intellectual communities (such as "natural selection," "communism," and "psychoanalysis"), a historical approach. In the case of "hypertext" the term began with Theodor Holm ("Ted") Nelson, and in this paper two of his early publications of "hypertext" are used to determine its initial meaning: the 1965 "A File Structure for the Complex, the Changing, and the Indeterminate" and the 1970 "No More Teachers' Dirty Looks." It is concluded that hypertext began as a term for forms of hypermedia (human-authored media that "branch or perform on request") that operate textually. This runs counter to definitions of hypertext in the literary community that focus solely on the link. It also runs counter to definitions in the research community that privilege tools for knowledge work over media.

    Scott Rettberg - 25.05.2012 - 14:15

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