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A NOTE FROM THE EDITORS (Fall 2018)
When you consider that writing as a form hasn’t really changed all that much since The Epic of Gilgamesh, some 4,000 years ago, what’s occurring in the world of new media becomes that much more impressive. Digital writing is already able to do things that authors aspired towards for years; incorporating visuals, music, and sound, as well as interacting directly with audience. In this issue we’ve tried to put forth work that exemplifies the wide range new media is capable of.
(Source: https://www.cddc.vt.edu/journals/newriver/18Fall/editor.html)
Lucila Mayol Pohl - 17.10.2020 - 13:18
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A NOTE FROM THE EDITORS (Spring 2018)
The world as we know it is changing: drones can deliver burritos, cars can drive themselves, all movies are remakes, and our middle school math teachers were all wrong – we do always have a calculator in our pocket. Welcome to the future! We’re talking about your smartphone. These small rectangular devices have affected nearly every aspect of our lives. New media is no exception. For this issue, we have curated a collection of pieces, both desktop and mobile, that exemplify all that new media has to offer in this future we live in.
(Source: https://www.cddc.vt.edu/journals/newriver/18Spring/editor.html)
Lucila Mayol Pohl - 17.10.2020 - 14:20
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A NOTE FROM THE EDITORS (Fall 2017)
The New River has been around for over 20 years, and in that time the digital world, and our readers' familiarity with that world, has changed drastically. In this year's Spring issue we take a moment to appreciate what still works from back in the early days of new media and the possibilities offered to us by its future.
We have been lucky enough to receive submissions from several past contributors this reading period, and have a pretty packed issue.
(Source: https://www.cddc.vt.edu/journals/newriver/17Fall/editor.html)
Lucila Mayol Pohl - 17.10.2020 - 15:33
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Collaboration and authority in electronic literature
This paper explores collaborative processes in electronic literature. Specifically, it examines writer authority as it applies to text, code, and other media. By drawing from cinematic auteur theory, Mitchell’s Picture Theory (1994), Said’s Beginnings: Intention and Method (1975), Cayley’s Grammalepsy (2018), and Flores’s (2019) generational approach to digital literature, this paper highlights unique issues that arise in the creative collaborative production of digital literary works, and the influence these processes have on how these works are ‘read’. The creative processes employed in Montfort, Rettberg, and Carpenter’s respective Taroko Gorge, Tokyo Garage, and Gorge (2009), Jhave’s ReRites (2017–2018), and Luers, Smith, and Dean’s novelling (2016)), as well as reflections on the author’s own collaborative creative experiences (Paige and Powe (2017) with Lowry and Lane, Little Emperor Syndrome (2018) with Arnold, and V[R]erses (2019–) with Breeze) are explored in detail.
David Wright - 11.11.2020 - 02:59
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I Forced a Bot to Read over 1,000 Papers from Open Access Journals and Then Asked It to Write a Paper of Its Own. Here Is the Result. Or, a Quasi-Materialist Approach to Bot-Mimicry
The article develops an approach for close reading of auto-generative writing agents (i.e. bots). It introduces the concept of bot-mimicry (a practice of writing in a bot-esque style), and argues that bot-mimicry inherently entails that reader and writer alike imagine a conceptual (fictional) bot which could have written the text. As such, it investigates the concept as a fruitful way of engaging with cultural, aesthetic and political conceptions and imaginaries surrounding bots. Furthermore, and through an example reading of the “Olive Garden tweet”, the paper develops, introduces and applies a quasi-materialist approach, where seemingly immaterial elements such as implicit conceptual bots are considered through a framework inspired by materialist media theory from the fields of software studies, media archaeology, and electronic
literature.Malthe Stavning Erslev - 12.11.2021 - 10:06
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Data-Realism: Reading and Writing Datafied Text
Pold and Erslev explore third-wave electronic literature -- a practice situated in ¨social media networks, apps, mobile and touchscreen devices, and Web API services” (Flores). At the next conceptual level, however, literary practices of this kind unavoidably take part in representing and reconstructing the metainterface - a space of data collection, standardization, commodification and redistribution that, for better or worse, is our context for a contemporary data realism.
Malthe Stavning Erslev - 12.11.2021 - 10:32
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Contemporary Posterity: A Helpful Oxymoron
In his essay, Malthe Stavning Erslev approaches the notion of post-digital from the perspective of a broader cultural phenomenon of posterioriy, emphasizing the fact that the prefix post- still allows for discussion of multidirectional and complex changes that our world is currently undergoing. In order to better grasp all the complexities and interrogate somewhat linear periodization implied by the prefix, Erslev employs the oxymoronic concept of contemporary posterity. At the same time, he ties his theoretical proposition with the extensive analysis of an online community engaging in bot-mimicry.
Malthe Stavning Erslev - 12.11.2021 - 10:51
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‘Grasp All, Lose All’: Raising Awareness Through Loss of Grasp in Seemingly Functional Interfaces
From baroque proto-cybertexts to countercultural gestures by historical avant-gardes, there is a longstanding tradition of disruptive strategies used by artists at the interstices of societies’ demands for order, control, and functionalism. For the avant-gardes and their multiple artistic inf(l)ections, radical changes to the way sensory perception had come to be depicted since Modernism became a central part of their strategy. By placing an emphasis on the confluence between various arts and media, the innovative character of their proposals had much to do with the ways in which they were able to embrace notions that represented modernity, including concepts such as simultaneity, dynamics, motion, and the symbiosis between human and machine. In this manner, they sought to induce estrangement and defamiliarization by using seemingly functional mechanisms to raise awareness through the loss of grasp.
Jill Walker Rettberg - 24.05.2022 - 20:55
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A 2020 Computer-Generated Text as a Posthuman Mode of Literature Production
A central idea of posthumanism in a technological society is the actual transition of the human towards a post-human entity, the cyborg. This entanglement between humanity and technology can not only be found in – actual and fictional – cyborgs, but also in computer-generated textproduction. Through the close collaboration between human creativity and artificial intelligence, algorithmically facilitated writing is emerging as anart form that is proving promising for literary analysis in a posthuman context. This article will examine computer-generated fiction as a new,posthuman mode of text production and use poststructuralist and related theory – mainly Roland Barthes, Michel Foucault, and Susan Sontag – toexplore the implications that such forms hold for the roles of authors, readers, and that of literary critics and scholars.
Jill Walker Rettberg - 24.05.2022 - 21:21
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Theatricality in the midst of a pandemic: An assessment of artistic responses to COVID-19 pandemic in Zimbabwe
This article examines theatre as a creative journalistic media deployed by theatre practitioners to map experiences of Zimbabweans during the COVID-19-induced lockdown. When the first positive case of COVID-19 was reported in March 2020, the Zimbabwe government, like many other countries, responded by introducing restrictions for public gatherings and ultimately a lockdown including arts events. Yet, theatricality has refused to capitulate. Artists re-invented their theatre productions into theatrical comic and satirical works posted on various social media platforms, in an effort to make sense of the pandemic, bring laughter and address a serious complex situation. We examine how artists deployed theatre to journal, capture and document the citizen’s collective experiences during the COVID-19 pandemic lockdown, for both the present and posterity. We are specifically interested in analysing the different ways art is deployed to provide entertainment, a broader understanding and awareness of the social, psychological and economic impact of COVID-19 for the present and future generations.
Jill Walker Rettberg - 08.06.2022 - 23:36
