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1. Responses to "On Reading 300 Works of Electronic Literature: Preliminary Reflections"

   Responses to "On Reading 300 Works of Electronic Literature: Preliminary Reflections"

   Eric Dean Rasmussen - 31.08.2011 - 16:22

2. Hyperfiction: Novels for the Computer

   Coover's second significant New York Times' Books article reviewed contemporary hypertexts most substantially including Stuart Moulthrop's Victory Garden, as examples of works that have "printbound analogues" but suggested that new narrative forms were beginning to emerge.

   Scott Rettberg - 06.09.2011 - 13:38

3. The Digital Poem against the Interface Free

   Recent e-literature by Judd Morrissey and Jason Nelson represents a broad movement in e-literature to draw attention to the move toward the so-called “interface free” – or, the interface that seeks to disappear altogether by becoming as “natural” as possible. It is against this troubling attempt to mask the workings of the interface and how it delimits creative production that Judd Morrissey creates “The Jew’s Daughter” – a work in which readers are invited to click on hyperlinks in the narrative text, links which do not lead anywhere so much as they unpredictably change some portion of the text. Likewise working against the clean and transparent interface of the Web, in “game, game, game and again game,” Jason Nelson’s hybrid poem-videogame self-consciously embraces a hand-drawn, hand-written interface while deliberately undoing videogame conventions through nonsensical mechanisms that ensure players never advance past level 121/2. As such, both Morrissey and Nelson intentionally incorporate interfaces that thwart readers’ access to the text so that they are forced to see how such interfaces are not natural so much as they define what and how we read and write.

   Eric Dean Rasmussen - 05.10.2011 - 09:09

4. Seven Types of Interface in the Electronic Literature Collection Volume Two

   Seven Types of Interface in the Electronic Literature Collection Volume Two

   Eric Dean Rasmussen - 05.10.2011 - 10:16

5. Disclaimer

   DISCLAIMER: MPAA: MASS PRODUCED ARTISTIC AXIOMS : GENERATIVE WRITING FOR NASCENT CENSORS.

   Disclaimer is non-linear and reshuffles every 7 seconds to form a new disclaimer. Every text field is independent. Arrays of words and phrases recombine to keep the eternal threat of censorship ever-fresh.

   Scott Rettberg - 11.10.2011 - 13:16

6. RAW (Reading and Writing) New Media

   RAW New Media builds on the first decade of work in new media research within English studies, following (and also breaking from) the longer history of hypertext theory. The book defines new media only in as much as the individual chapters do so, setting the field as materially rich, ever-changing and remediating itself, and kairotic. What is “new” has no fixed boundaries. Because new media is constantly changing, it must be constantly historicized, theorized, and situated within cultural and social (as well as time-based and spatial) contexts.

   Scott Rettberg - 30.10.2011 - 20:26

7. Reading Digital Literature: A Subject Between Media and Methods

   Simanowksi's overview essay describes the agenda of part one, "Reading Digital Liteature" of the Reading Moving Letters collection: to gather semiotic readings of digital literature that provide future readers of these varied aesthetic forms with sophisticated theoretical and methodological tools for intepretation. While doing so, it provides short glosses of key concerns addressed in the essays from this section. One overarching concern is how to strike the correct critical balance when reading literary works in which natural language is often subsumed by other semiotic flows: how can the critical reader address medial specificity without sacrificing an interest in a work's linguistic properties, which, traditionally, have been at the forefront of literary study? Like much of Simanowksi's critical writing on digital literature, the essay aims to enable scholars and critics to produce meaningful, analytic interpretations of works of digital literature, rather than simply empirical descriptions of their functional interactions.

    

   Eric Dean Rasmussen - 05.12.2011 - 10:30

8. Writing the Virtual: Eleven Dimensions of E-Poetry

   Eleven characteristics of networked digital poetry, a category that encompasses an enormous variety of work, are discussed and illustrated with examples. Issues raised include the recalibration of the writing/reading relationship, the nature of attachment at the site of interaction, an architectonic quality of instrument-building that characterizes many pieces, differing treatments of time and “place”, the use of recombinant flux, a performative character displayed by many works, the omnipresence of both translation and looping, as well as pervasive references to ruin and hybrid states of mixed reality.

   (Source: article abstract)

   Eric Dean Rasmussen - 06.02.2012 - 10:45

9. Is There a Text on This Screen? Reading in an Era of Hypertextuality

   Is There a Text on This Screen? Reading in an Era of Hypertextuality

   Eric Dean Rasmussen - 07.02.2012 - 11:56

10. How We Think: Digital Media and Contemporary Technogenesis

    How do we think? N. Katherine Hayles poses this question at the beginning of this bracing exploration of the idea that we think through, with, and alongside media. As the age of print passes and new technologies appear every day, this proposition has become far more complicated, particularly for the traditionally print-based disciplines in the humanities and qualitative social sciences. With a rift growing between digital scholarship and its print-based counterpart, Hayles argues for contemporary technogenesis-the belief that humans and technics are coevolving-and advocates for what she calls comparative media studies, a new approach to locating digital work within print traditions and vice versa. mines the evolution of the field from the traditional humanities and how the digital humanities are changing academic scholarship, research, teaching, and publication. She goes on to depict the neurological consequences of working in digital media, where skimming and scanning, or "hyper reading," and analysis through machine algorithms are forms of reading as valid as close reading once was.

    Eric Dean Rasmussen - 17.02.2012 - 09:33

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