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1. Creativity is something for hairdressers - so what is it for writers? Why the differentiation of 'literature' and 'writing' is obsolete, and what the Internet has to do with it

   I will try to make a blend between the notion of "creative writing", which is typically American (and doesn't exist in most of continental Europe), and the discourse of creative industries, which is typically European, and try to stab the notion of "creative" a bit as a kind of helpless placeholder for something that, for whatever reason, is no longer called literary or artistic. So, referring to Kenny Goldsmith, it's not about a dichotomy creative/uncreative, but what's questionable about the concept in the first place. If we shift the issue from an idealist to a materialist perspective, then the difference between creative/literary writing and common writing has always been arbitrary.

   The critical edition of Kafka, which now includes the documents he wrote for his insurance company, is a good example, as are earlier examples of published letters, diaries etc. Foucault's criticism of the the notion of the oeuvre, whether it would include scraps and laundry bills or not, seems quite backwards to me. The actual difference has been one of published and non-published writing, with publishing being (for technical and economic reasons) controlled by an industry.

   Eric Dean Rasmussen - 14.06.2012 - 16:38

2. Convergent Devices, Dissonant Genres: Tracking the “Future” of Electronic Literature on the iPad

   Anastasia Salter’s “Convergent Devices, Dissonant Genres” assesses the implications of the iPad for the state of literature. Looking at “traditional” approaches that re-mediate print for digital devices, “enhanced” approaches which add “special features” to extant texts and forms, pre-tablet eliterature re-experienced in the new environment, and finally the creation of original apps with literary qualities, Salter’s work is a critical document of the impact a single interface can have on the development of literary culture in the 21st Century. (Source: Author's Abstract)

   Anders Gaard - 25.08.2016 - 15:38

3. Refashioning the Print Literature: Internet Literature in China

   Over the past decade, Internet literature has indeed accomplished remarkable achievements. Internet literature has garnered a readership of 202.67 million, amounting to 39.5 percent of all netizens in mainland China now. That 55.5 percent of these netizens are between the ages of twenty and forty indicates that Internet literature is clearly very popular with young people, which is surprising nowadays considering that there are so many forms of entertainment available to them. Although Internet literature has developed rapidly, it is not only accepted as a part of mainstream contemporary literature but also plays an increasingly important role in literary creation, theory, and criticism in mainland China

   Ole Samdal - 24.11.2019 - 23:19