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1. Ping Poetics

   Sandy Baldwin investigates the manner in which a computer "ping trace" can be classified as a form of digital poetics, and discusses the underlying symbolic practices of both poesis and poetics that encompass coding and computation.

   Eric Dean Rasmussen - 21.09.2010 - 11:27

2. Code.surface || Code.depth

   This essay begins by identifying a central idea in the critical discourse on code art and code poetry: code is a deep structure that instantiates a surface. The AP Project’s Jonathan Kemp and Martin Howse, for example, explain that their work makes “manifest underlying systematics,” that can make the digital “physical, audible and visible through geological computing.” In what sense, if at all, can we trace a computing operation down to a foundation, bottom, or core? Why do we maintain this cultural imaginary of code and how has it come into being? Moreover, how have the metaphors of software engineering – particularly the notion of structured layers and multitier architectures – been put to artistic use? The thematizing of layers, surfaces, and spatial metaphors has become quite intricate in new media writing practices, as I will demonstrate in a reading of “Lascaux.Symbol.ic,” one of Ted Warnell’s Poems by Nari, and recent projects by John Cayley, including Overboard and Translation.

   Rita Raley - 05.05.2011 - 16:06

3. The Monstrous Book and the Manufactured Body in the Late Age of Print

   The Monstrous Book and the Manufactured Body in the Late Age of Print: Material Strategies for Innovative Fiction in Shelley Jackson’s Patchwork Girl and Steve Tomasula’s VAS: An Opera in Flatland 

   Patricia Tomaszek - 06.05.2011 - 14:51

4. Reorienting Narrative: E-lit as Psychogeography

   Illya Szilak interviews J. R. Carpenter in her on-going series of posts on E-Lit for Huffington Post Books.

   J. R. Carpenter - 08.07.2013 - 11:54

5. Matter of Time: Toward a Materialist Semiotics of Web Animation

   This essay argues for greater critical attention to the impact of particular development environments and programming languages on the aesthetic forms of new media productions. Examining two examples of Internet-based motion graphics for the ways they have been optimized for web delivery, the author attempts to show that medium-specific coding and design strategies in digital literature set up another signifying surface that intersects with the manifest text on the screen. In this material dimension of the text's signification, we can read the marks of the small- and large-scale technical systems in which the artwork is embedded.

   (Source: Author's abstract)

   Scott Rettberg - 09.07.2013 - 14:13

6. In the Event of a Variable Text

   Walter J Ong argues: ‘The spoken word is always an event, a movement in time, completely lacking in the thing-like repose of the written or printed word’. Digital writing has given rise to a new regime of enunciation in which written words refuse repose. This essay argues that although spoken, written and printed words operate within radically different temporal planes, spoken words also have thing-like properties and written and printed words also move through time. Digital writing has given rise to a new regime of signification unforeseen by Ong in which written words refuse repose. Jay David Bolter argues that digital writing ‘challenges the logocentric notion that writing should be merely the servant of spoken language ... The writer and reader can create and examine structures on the computer screen that have no easy equivalent in speech’. N Katherine Hayles argues that, in digital media, the text ‘becomes a process, an event brought into existence when the program runs ... The [text] is ‘‘eventilized,’’ made more an event and less a discrete, self-contained object with clear boundaries in space and time’.

   J. R. Carpenter - 31.01.2017 - 12:42

7. "With each project I find myself reimagining what cinema might be": An Interview with Zoe Beloff

   Jussi Parikka interviews artist Zoe Beloff about her relationship to the emerging set of interdisciplinary theories and methodologies known as media archaeology. In way of response, Beloff discusses some past works, including: Lost (1995), Shadow Land (2000), Claire and Don in Slumberland (2002), Charming Augustine (2005), The Somnambulists (2008), and The Dream Films (2009).

   (Source: ebr)

   Lisa Berwanger - 12.09.2017 - 15:09

8. Against Animal Authenticity, Against the Forced March of the Now: a review of Nicole Shukin’s Animal Capital

   In one half of a pair of critical reviews looking at recent titles in animal studies, Karl Steel examines Nicole Shukin’s Animal Capital (Shukin reviews Steel in the other half). In particular, Steel looks at Shukin’s biopolitical framework, and considers how that framework challenges not only our conception of what constitutes the animal, but also–and more to the bone–our conception of the capacity of fields like animal studies.

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

   Malene Fonnes - 25.09.2017 - 15:36

9. Ebooks, Libraries, and Feelies

   Countering the persistent popular notion that electronic literature is just reading the classics under glass, Daniel Punday advocates for greater innovation, and more authorial autonomy, at the level of book design. Insisting on “authors’ rights to design the interface through which readers encounter their books,” Punday argues that digital book publishing should strive to emulate the medial status of games, “which remain messy individuals.”

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

   Malene Fonnes - 15.10.2017 - 16:17

10. The Cybernetic Turn: Literary into Cultural Criticism

    Joseph Tabbi reviews the essay collection Simulacrum America.

    About a year ago in a TLS review, the English novelist Lawrence Norfolk praised the emerging generation of U.S. writers for resisting the allure of the mediated culture and providing readers with “news of a rare and real America” (“Closing time in the fun-house”). Norfolk is thinking of William T. Vollmann’s red light districts (mostly cleaned up now and Hilton-ed over), Jonathan Franzen’s inner city (newly gentrified), Richard Powers’s intelligentsia (last seen working online), and David Foster Wallace’s mid-priced cruise ships, halfway houses, and rural state fairs (now mostly funded by corporations). Norfolk would probably oppose this America to the more globally familiar prospect of “total operationality, hyperreality, total control” and total interchangeability of sign and referent that Jean Baudrillard finds here, along with technology’s “mortal deconstruction of the body” (“Simulacra,” cited in Simulacrum America).

    tye042 - 18.10.2017 - 14:25

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