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1. 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

2. Reading Network Fiction

   David Ciccoricco establishes the category of "network fiction" as distinguishable from other forms of hypertext and cybertext: network fictions are narrative texts in digitally networked environments that make use of hypertext technology in order to create emergent and recombinant narratives. Though they both pre-date and post-date the World Wide Web, they share with it an aesthetic drive that exploits the networking potential of digital composition and foregrounds notions of narrative recurrence and return.

    

   Eric Dean Rasmussen - 18.02.2011 - 20:31

3. Don't Believe the Hype: Rereading Michael Joyce's Afternoon and Twelve Blue

   Don't Believe the Hype: Rereading Michael Joyce's Afternoon and Twelve Blue

   Eric Dean Rasmussen - 11.03.2011 - 12:40

4. How We Think: Digital Media and Contemporary Technogenesis

   How do we think? N. Katherine Hayles poses this question at the beginning of this bracing exploration of the idea that we think through, with, and alongside media. As the age of print passes and new technologies appear every day, this proposition has become far more complicated, particularly for the traditionally print-based disciplines in the humanities and qualitative social sciences. With a rift growing between digital scholarship and its print-based counterpart, Hayles argues for contemporary technogenesis-the belief that humans and technics are coevolving-and advocates for what she calls comparative media studies, a new approach to locating digital work within print traditions and vice versa. mines the evolution of the field from the traditional humanities and how the digital humanities are changing academic scholarship, research, teaching, and publication. She goes on to depict the neurological consequences of working in digital media, where skimming and scanning, or "hyper reading," and analysis through machine algorithms are forms of reading as valid as close reading once was.

   Eric Dean Rasmussen - 17.02.2012 - 09:33

5. Narrative Affect in William Gillespie's Keyhole Factory and Morpheus: Biblionaut, or, Post-Digital Fiction for the Programming Era

   Programmable computation is radically transforming the contemporary media ecology. What is literature's future in this emergent Programming Era? What happens to reading when the affective, performative power of executable code begins to provide the predominant model for creative language use? Critics have raised concerns about models of affective communication and the challenges a-semantic affects present to interpretive practices. In response, this essay explores links between electronic literature, affect theory, and materialist aesthetics in two works by experimental writer and publisher William Gillespie.

   Focusing on the post-digital novel Keyhole Factory and the electronic speculative fiction Morpheus: Bilblionaut, it proposes that: first, tracing tropes of code as affective transmissions allows for more robust readings of technomodernist texts and, second, examining non-linguistic affect and its articulation within constraint-based narrative forms suggests possibilities for developing an affective hermeneutics.

   Eric Dean Rasmussen - 02.06.2016 - 11:15