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1. The Politics of the Libre Commons

   The project of ‘free culture’ is committed to the creation of a cultural space, rather like the ‘public domain’, seeking to complement/replace that of proprietary cultural commodities and privatized meaning. This has been given a new impetus with the birth of the Creative Commons. This organization has sought to introduce cultural producers across the world to the possibilities of sharing, co–operation and commons–based peer–production by creating a set of interwoven licenses for creators to append to their artwork, music and text. In this paper, we chart the connections between this movement and the early Free Software and Open Source movements and question whether underlying assumptions that are ignored or de–politicized are a threat to the very free culture that the project purports to save. We then move to suggest a new discursive project linked to notions of radical democracy.

   David M. Berry - 21.09.2010 - 11:16

2. The Nihilanth: Immersivity in a First-Person Gaming Mod

   The Nihilanth: Immersivity in a First-Person Gaming Mod

   Rita Raley - 05.05.2011 - 15:28

3. Editor's Introduction: Writing.3D

   Editor's Introduction: Writing.3D

   Rita Raley - 05.05.2011 - 15:49

4. Code.surface || Code.depth

   This essay begins by identifying a central idea in the critical discourse on code art and code poetry: code is a deep structure that instantiates a surface. The AP Project’s Jonathan Kemp and Martin Howse, for example, explain that their work makes “manifest underlying systematics,” that can make the digital “physical, audible and visible through geological computing.” In what sense, if at all, can we trace a computing operation down to a foundation, bottom, or core? Why do we maintain this cultural imaginary of code and how has it come into being? Moreover, how have the metaphors of software engineering – particularly the notion of structured layers and multitier architectures – been put to artistic use? The thematizing of layers, surfaces, and spatial metaphors has become quite intricate in new media writing practices, as I will demonstrate in a reading of “Lascaux.Symbol.ic,” one of Ted Warnell’s Poems by Nari, and recent projects by John Cayley, including Overboard and Translation.

   Rita Raley - 05.05.2011 - 16:06

5. Editor's Introduction: Reconfiguring Place and Space in New Media Writing

   This installment of the Iowa Review Web explores the function of place and space in recent new media writing. Each of the four interviews concern works that in some way attempt to reconfigure our understanding of the relationship between space and storytelling. Each of the primary works discussed in these interviews also pushes space in another sense, in that each attempts to explore a new "possibility space" on the boundary between different forms and fields of multimedia experience: between story and game, between game and drama, between literature and conceptual art, between game and performance. The introduction contextualizes the narrative function of space in a number of recent works of electronic literature.

   Scott Rettberg - 21.05.2011 - 09:53

6. Literary Machines Made in Germany. German Proto-Cybertexts from the Baroque Era to the Present

   Literary Machines Made in Germany. German Proto-Cybertexts from the Baroque Era to the Present

   Jörgen Schäfer - 28.06.2011 - 14:30

7. Subject to Change: The Monstrosity of Media in Shelley Jackson's Patchwork Girl; or, A Modern Monster and Other Post-humanist Critiques of the Instrumental

   Subject to Change: The Monstrosity of Media in Shelley Jackson's Patchwork Girl; or, A Modern Monster and Other Post-humanist Critiques of the Instrumental

   Eric Dean Rasmussen - 08.07.2011 - 10:53

8. Digital Poetry: From Cybertext to Programmed Forms

   Digital Poetry: From Cybertext to Programmed Forms

   Zuzana Husarova - 01.09.2011 - 16:59

9. Multimediality, Intermediality, and Medially Complex Digital Poetry

   In Grammophone, Film, Typewriter, Friedrich Kittler envisioned a digital future of demediation: all traditional differences between media and mediations would be ended in a fusion of digital numbers. Kittler’s vision, I argue in my paper, is premediated by Richard Wagner’s artwork of the future: despite their differences, both stage the dream of a multimedial future in which monomediality or medial compartmentalization is effectively aufgehoben. This idea of premediation is further explored by comparing Wagner’s music drama’s to digital multimedia works and events of the 1990’s and early years of our twenty-first century that try to fuse words, bodily gestures, sounds, and images.
   

   Patricia Tomaszek - 21.09.2011 - 14:34

10. The Role of Sound in Electronic Literature

    The Role of Sound in Electronic Literature

    Dene Grigar - 06.10.2011 - 07:04

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