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  1. The Aesthetics of Materiality in Electronic Literature

    According to the French author and theoretician Jean-Pierre Balpe, “all digital art works are first conceived outside the framework of a pragmatic relation to materiality. Any manifestation of digital art is but a simulated moment of an absent matter.”

    However, I wish to show that there is at least as much materiality in the digital media as in other media. Of course, as a formal description, digital and material can be distinguished. Digital media correspond to formalization, insofar as formalization is understood as the modelling of a given reality through the use of a formal code. But because digital media refers to the effectiveness of digital calculation, it can be considered as “material”, at least on two levels:

    Eric Dean Rasmussen - 27.01.2011 - 15:39

  2. Literary Art in Digital Performance: Case Studies in New Media Art and Criticism

    Literary Art in Digital Performance examines electronic works of literary art, a category integrating the visual+textual including interactive poetry, narrative computer games, filmic sculpture, projective art, and other works specific to digital media. In recent decades, electronic art's aesthetic has been driven by new algorithmic, randomized, and emergent processes. Although this new art differs from material art or print literature, the rise of popular fascination with new media has neglected signifcant discussion of how technical mediation impacts contemporary art and literature. Presented as a collection of case studies by leading scholars, the book provides a contemporary optic on this art's forms, problems, and possibilities. Each case study is followed by a post-chapter dialogue where the editor engages authors on the foundational aesthetics of new media art and literature.

    Table of Contents

    1. Introduction: Juncture and Form in New Media Criticism, Francisco J. Ricardo

    2. What is and Toward What End do We Read Digital Literature?, Roberto Simanowski Post-Chapter Dialogue, Simanowski and Ricardo

    Eric Dean Rasmussen - 31.01.2011 - 10:01

  3. Introduction: Juncture and Form in New Media Criticism

    Introduction: Juncture and Form in New Media Criticism

    Eric Dean Rasmussen - 31.01.2011 - 11:37

  4. Artificial Poetry: On Aesthetic Perception in Computer-Aided Literature

    Artificial Poetry: On Aesthetic Perception in Computer-Aided Literature

    Eric Dean Rasmussen - 31.01.2011 - 15:39

  5. Framed: The Machine in/as the Garden

    Deploying what he has dubbed "the ecological thought," Timothy Morton offers a critical reading of Roderick Coover's online cinemascapes Canyonlands: Edward Abbey and the Defense of Wilderness. In the video's stark modernist form, Morton writes, "the hydroelectric engine of human progress still hums." What's needed now, he suggests, is a "Goth remix."

    (source: http://electronicbookreview.com/thread/criticalecologies/flooded)

    Eric Dean Rasmussen - 18.02.2011 - 22:07

  6. Aesthetic Autonomy and Sensuous Appearing: Two Questions in the Aesthetics of Digital Poetry

    In this paper I would like to consider the aesthetics of digital poetry with reference to ideas of aesthetic autonomy and sensuous appearing.
    The notion of autonomy, whether of the art-work or of a mode of experience with which it is associated, has been central to the historical development of the idea of the aesthetic itself. Andrew Bowie defines it as ‘the idea that works of art have a status which cannot be attributed to any other natural object or human product’ (Aesthetics and Subjectivity, p. 2). It is an idea which has been seen as ideologically driven, as when Terry Eagleton suggests that ‘the idea of autonomy – of a mode of being which is entirely self-regulating and self-determining – provides the middle class with just the ideological mode of subjectivity it requires for its material operations’. Yet Eagleton also argues that aesthetic autonomy can provide a ‘vision of human energies as radical ends in themselves which is the implacable enemy of all dominative or instrumentalist thinking’, implying that it has potential for avant-garde or critical purposes (Eagleton, Ideology of the Aesthetic, 9).

    Eric Dean Rasmussen - 08.03.2011 - 16:05

  7. False Pretenses, Parasites, and Monsters

    A meditation on parasites and montrosity in American novels and hypertext fictions.

    Eric Dean Rasmussen - 15.03.2011 - 15:57

  8. "No Preexistent World": On "Natural" and "Artificial" Forms of Poetry

    Peter Gendolla pursues a paradox accompanying the literary avant-garde from Romanticism to the most current electronic installations; namely, that they want to bring back the cold, dead culture into “natural” life and that they are doing this with the most advanced technological procedures. They become more and more “technical” with the impulse not only to dissolve the division of the genres but also to transfer art at least by way of literary means into “natural” forms of life; thus, they are continually developing new forms of aesthetic difference that have to be differentiated from either nature or culture.

    Scott Rettberg - 24.05.2011 - 11:43

  9. Process Window: Code Work, Code Aesthetics, Code Poetics

    The Process Window contains general information about the state of the process, with a summary of its current threads and their states.

    Patricia Tomaszek - 27.05.2011 - 23:44

  10. Technotexuality: An Interview with N. Katherine Hayles and Anne Burdick

    Interview with the author and designer of Writing Machines.

    Patricia Tomaszek - 28.05.2011 - 01:08

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