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Writing as collective assemblages in the age of (post)digital capitalism, or de-colonizing e-literature in the minor key.
In my proposition, I would like to explore the notion of the minor (Deleuze and Guattari, 1986), employed here as a theoretical tool allowing for a critical inquiry into multifarious e-literary post-internet practices, popularly referred to as Third-Generation E-Literature (Flores, 2019), and accompanied by third-wave e-literature scholarship (Ensslin et al., 2020). However, I am going to build on this notion following its recent repurposing by Anne Sauvagnargues (as the minor style) (Sauvagnargues, 2016) and Erin Manning (as the minor gesture) (Manning, 2016). Kathi Inman Berens aptly remarks (Berens, 2020) that de-colonization of e-literature requires multiplicity of perspectives, as it entails not only cultural hegemonies operating along geographical, ethnic and racial axes and following the set of distinctions shaped by modernist aesthetics, but it also needs to address widespread domination of Big Tech companies shaping the popular internet platforms, programming solutions and users' practices.
Cecilie Klingenberg - 24.02.2021 - 15:57
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‘Doing e-lit’ in print: Plus-Human Codes and the (re)Turn to the Bookbound
“He may be a superdecoder or a superspy but he’s sort of neutral, though not quite like a machine, more like he’d, sort of, come and, reversed all our, traditional, oppositions, and questioned, all our, certainties”, or so Zab falteringly describes the Martian boulder-cum-supercomputer that has crash-landed in a disused Cornish mine.
Christine Brooke-Rose’s 1986 novel, Xorandor, is remarkable as much for its eponymous radioactive-waste-guzzling, double-crossing rock, as for being partially narrated in the programming language, Poccom 3. Invented by siblings, Jip and Zab, first as a kind of idioglossia and then as a lingua franca for communicating with Xorandor, Poccom 3 is rather like the indeterminate rock: its presence in the text requires a supreme effort of decoding to begin with, becomes increasingly naturalized with exposure, but consistently questions all our certainties about the language of literature.
Cecilie Klingenberg - 26.02.2021 - 14:11
