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1. A [S]creed for Digital Fiction

   An international group of digital-fiction scholars proposes a platform of critical principles, seeking to build the foundation for a truly "digital" approach to literary study. Published in ebr's electropoetics thread.

   Eric Dean Rasmussen - 18.02.2011 - 22:31

2. Reading Digital Cultural Objects

   Editorial note to Dichtung Digital #40 introducing papers by Braxton Soderman, Davin Heckman, Eduardo Navas, John M. Vincler, Martina Pfeiler, Nele Lenze, Roberto Simanowski, and Scott Rettberg.

   Patricia Tomaszek - 06.05.2011 - 13:54

3. Performative Reading: Attending The Last Performance [dot org]

   The Last Performance [dot org] by Judd Morrissey, Mark Jeffrey, the Goat Island Collective, and more than 100 other contributors, is a work of database literature that exists in a number of different manifestations online, in performance, and in museum installations. The work-in-progress was initiated in 2008. It was composed using a constraint-driven collaborative writing process that invites user contributions. In this essay, Scott Rettberg considers the difficulties of attempting a close reading of this type of electronic literature, and suggests some strategies for attentive reading, driven by close reading of fragments of the work and awareness of how the work functions as a computational and narrative system.

   Patricia Tomaszek - 06.05.2011 - 14:01

4. Electronic Literature and the Mashup of Analog and Digital Code

   This essay examines the complexity of contemporary electronic literary practice. It evaluates how electronic literature borrows from, and also influences, the reception of the textual message in other forms of communication that efficiently combine image, sound and text as binary data, as information that is compiled in any format of choice with the use of the computer. The text aims to assess what it means to write in literary fashion in a time when crossing over from one creative field to another is ubiquitous and transparent in cultural production. To accomplish this, I relate electronic literature to the concept of intertextuality as defined by Fredric Jameson in postmodernism, and assess the complexity of writing not only with words, but also with other forms of communication, particularly video. I also discuss Roland Barthes’s principles of digital and analogical code to recontextualize intertextuality in electronic writing as a practice part of new media. Moreover, I discuss a few examples of electronic literature in relation to mass media logo production, and relate them to the concept of remix.

   Patricia Tomaszek - 06.05.2011 - 15:17

5. The Machine in the Text, and the Text in the Machine

   "The Machine in the Text, and the Text in the Machine" is a review essay on Electronic Literature: New Horizons for the Literary (Notre Dame, IN: University of Notre Dame, 2008), by N. Katherine Hayles, and Mechanisms: New Media and the Forensic Imagination (Cambridge, Mass.: MIT Press, 2008), by Matthew G. Kirschenbaum. Both works make remarkable contributions for the emerging field of digital literary studies and for the theory of digital media. While Hayles analyses the interaction between humans and computing machines as embodied in electronic works, Kirschenbaum conceptualizes digitality at the level of inscription and establishes a social text rationale for electronic objects.

   (Source: DHQ)

   Eric Dean Rasmussen - 13.09.2011 - 14:23

6. The Paratexts of Inanimate Alice: Thresholds, Genre Expectations and Status

   In her book Writing Machines, N. Katherine Hayles described the concept of thetechnotext. Hayles used this concept to provide an analysis of a range of texts, including online work, based on their materiality. The analysis described in this article complements this method by developing an approach that explores the conditions of production of contemporary digital literature. It achieves this aim by providing a close reading of the online paratextual elements associated with the first four episodes ofInanimate Alice by Kate Pullinger and Chris Joseph. In doing so, it modifies the print-based analytical framework provide by Gérard Genette and others to develop a detailed account of the off-site, on-site and in-file paratexts of this online work. It sets out a range of thresholds that mould the reception of this text. It also notes how they position it within wider discourses about genre, media, literature and literacy. This article concludes by exploring the limits of this paratextual reading. It discusses whether it provides an adequate account of the material conditions of these texts.

   Jill Walker Rettberg - 02.06.2012 - 14:25

7. Ce livre qui n'en est pas un: le texte littéraire électronique

   Un texte littéraire électronique est écrit en code et ne peut exister sous forme imprimée. C’est une forme spécifique qui existe depuis la création dans les années 1970 des jeux d’aventures textuels (Willie Crowther et Don Woods, Adventure). Elle s’est développée de par l’exploitation de liens hypertextuels (Shelley Jackson, Patchwork Girl), d’éléments hypermédias, et s’oriente à présent vers la sophistication croissante des moyens mis en œuvre pour que le lecteur participe à la création de l’œuvre (Stuart Moulthrop, Pax). Le rapport entre jeux et textes reste très fort, au point que certains arguent que les jeux d’ordinateur actuels sont des œuvres littéraires électroniques. La forme est hantée par la fragilité de ses supports, et son économie semble reposer sur la gratuité.

   Jill Walker Rettberg - 02.07.2013 - 15:10

8. Inside Outside the Box: Default Settings and Electronic Poetics

   Developing meaningful approaches to criticism appropriate to new modes of cultural production is among the most pressing problems facing the humanities scholars today. This essay discusses digital poetry as a method of revealing defaults in a technical age. It begins with a general definition of the default, followed by a close reading of Jason Nelson’s This Is How You Will Die (2006) and David Jhave Johnston’s Interstitial (2006) as works that challenge default settings: practically, by opening up the space for criticism within digital practice, and philosophically, by engaging with questions of mortality. Through these poetic works, I trace a path through larger social and philosophical questions about technology via Heidegger and the contemporary discourses of technoscience and posthumanism. I conclude with a discussion of the “black box” as a metaphor for an unresolved knowledge of the human between the technical and the poetic.

   Patricia Tomaszek - 06.05.2011 - 14:16