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1. Writing on Complex Surfaces

   Writing in programmable media is theorized in relation to the surface of writing.[1] Within the framework of currently dominant cultural and technological formations, the surface of writing is conceptually simple, and this overdetermines practices of writing. As it is typically conceived, the surface of writing is a flatland plane, a 3rd-dimensionless scroll (however segmented or, indeed, fragmented) on which linguistic symbols, similarly dimensionless, are arrayed. Once language has come to rest on this simple surface, any qualities it may possess of temporality or material depth are bracketed. Programmable media problematize this dominant but simple model, and yet, arguably, its depthless, timeless surface misdirects the composition and publication of writing, even writing that is instantiated in programmable media. In the field of poetics, there are traditions for which the surface of writing is complex. Although rarely made explicit, such approaches to the writing surface have enriched the practices of important writers, particularly poetic writers.

   Patricia Tomaszek - 14.09.2010 - 17:21

2. Christopher Strachey: The First Digital Artist?

   Extensive blog post in GrandTextAuto arguing that Christopher Strachey's love letter generator was in fact the first work of digital literature, with many references and quotations. A debate follows in the comments, for instance discussing the idea that the generator may be a form of anti-literature, a parody of literature.

   Jill Walker Rettberg - 24.03.2011 - 23:15

3. Playable Media and Textual Instruments

   The statement that "this is not a game" has been employed in many ways — for example, to distinguish between high and low culture electronic texts, to market an immersive game meant to break the "magic circle" that separates games from the rest of life, to demarcate play experiences (digital or otherwise) that fall outside formal game definitions, and to distinguish between computer games and other forms of digital entertainment. This essay does not seek to praise some uses of this maneuver and condemn others. Rather, it simply points out that we are attempting to discuss a number of things that we play (and create for play) but that are arguably not games. Calling our experiences "interactive" would perhaps be accurate, but overly broad. An alternative — "playable" — is proposed, considered less as a category than as a quality that manifests in different ways. "Playable media" may be an appropriate way to discuss both games and the "not games" mentioned earlier.

   Jörgen Schäfer - 05.07.2011 - 13:35

4. Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext

   Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext

   Eric Dean Rasmussen - 07.07.2011 - 16:37

5. Dichtung Digital 34

   Dichtung Digital 34

   Patricia Tomaszek - 13.02.2012 - 17:15

6. A Box, Darkly: Obfuscation, Weird Languages, and Code Aesthetics

   The standard idea of code aesthetics, when such an idea manifests itself at all, allows for programmers to have elegance and clarity as their standards. This paper explores programming practices in which other values are at work, showing that the aesthetics of code must be enlarged to accommodate them. The two practices considered are obfuscated programming and the creation of “weird languages” for coding. Connections between these two practices, and between these and other mechanical and literary aesthetic traditions, are discussed.

   (Source: authors' abstract)

   Scott Rettberg - 25.02.2012 - 13:24

7. Tradition i opbrud

    En antologi der belyser avantgardetraditionen i det 20. århundrede både teoretisk og historisk med analyser af enkelte bevægelser, kunstnere og værker.

   Jill Walker Rettberg - 18.06.2012 - 11:28

8. Das Epos der Maschine. Avantgardestrategier i Cyberspace?

   Das Epos der Maschine. Avantgardestrategier i Cyberspace?

   Jill Walker Rettberg - 18.06.2012 - 11:30

9. Hyperrhiz 01: Inaugural Issue

   Hyperrhiz 01: Inaugural Issue

   Helen Burgess - 20.06.2012 - 19:55

10. anomalie_digital arts n°5 "://brasil" / Anomalie

    Ce numéro 5 de la revue Anomalie_digital arts # 5 intitulé " : // brasil " est édité en partenariat avec le festival @rt outsiders 2005 / Maison Européenne de la Photographie. Il présente l'exposition du festival et " l'art des nouveaux médias " au Brésil. Cet ouvrage aborde dans une perspective historique les pratiques technologiques contemporaines qui animent la scène artistique brésilienne. Des expériences d'art cinétique d'Abraham Palatnik aux créations sensorielles d'Hélio Oiticica et de Lygia Clark, des poèmes holographiques d'Eduardo Kac aux créations numériques les plus récentes, il nous dévoile toute la multiplicité de la création actuelle, ce " mélange de sensualité tropicale et de rigueur constructiviste " dont parle Kac….

    Luciana Gattass - 12.11.2012 - 11:51

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