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1. What is and Toward What End Do We Read Digital Literature?

   What is and Toward What End Do We Read Digital Literature?

   Eric Dean Rasmussen - 31.01.2011 - 11:39

2. The Strategy of Digital Modernism: Young-Hae Chang Heavy Industries's Dakota

   from Project MUSE: A prominent strategy in some of the most innovative electronic literature online is the appropriation and adaptation of literary modernism, what I call “digital modernism.” This essay introduces digital modernism by examining a work that exemplifies it: Dakota by Young-hae Chang Heavy Industries. I read this Flash-based work in relation to its literary inspiration: the authors claim that Dakota is “based on a close reading of Ezra Pound's Cantos part I and part II.” The authorial framework claims modernism’s cultural capital for electronic literature and encourages close reading of its text, but the work’s formal presentation of speeding, flashing text challenges such efforts. Reading Dakota as it reads Pound’s first two cantos exposes how modernism serves contemporary, digital literature by providing a model of how to “MAKE IT NEW” by renovating a literary past.

   Eric Dean Rasmussen - 14.02.2011 - 10:27

3. Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations

   From the publisher: How to interpret and critique digital arts, in theory and in practice Digital Art and Meaning offers close readings of varied examples from genres of digital art, including kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture. Roberto Simanowski combines these illuminating explanations with a theoretical discussion employing art philosophy and history to achieve a deeper understanding of each example of digital art and of the genre as a whole.

   (Source: University of Minnesota Press catalog description)

   Eric Dean Rasmussen - 24.02.2011 - 10:25

4. How We Read: Close, Hyper, Machine

   Article abstract required.

   Guest lecture at Duquesne University.

   Scott Rettberg - 21.03.2011 - 23:40

5. Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

   Review of Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, by Chris Funkhouser

   Patricia Tomaszek - 13.02.2012 - 00:53

6. Immersion and Interactivity in Digital Fiction

   Digital fiction began by defining itself against the printed book. In so doing, transgression of linearity and the attempt to reduce the authorial presence in the text, were soon turned into defining characteristics of this literary form. Works of digital fiction were first described as fragmented objects comprised of “text chunks” interconnected by hyperlinks, which offered the reader freedom of choice and a participatory role in the construction of the text. These texts were read by selecting several links and by assembling lexias. However, the expansion of the World Wide Web and the emergence of new software and new devices, suggested new reading and writing experiences. Technology offered new ways to tell a story, and with it, additional paradigms. Hyperlinks were replaced with new navigation tools and lexias gave way to new types of textual organization. The computer became a multimedia environment where several media could thrive and prosper. As digital fiction became multimodal, words began to share the screen with image, video, music or icons.
   

   Daniela Côrtes Maduro - 05.02.2015 - 12:28