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1. Interactive Technology and the Remediation of the Subject of Writing

   Interactive Technology and the Remediation of the Subject of Writing

   Scott Rettberg - 25.06.2013 - 13:59

2. Règles, contraintes, programmes

   Règles, contraintes, programmes

   Scott Rettberg - 28.06.2013 - 16:40

3. Determining Literariness in Interactive Fiction

   Questions whether the world presented in interactive fiction is a "literary one." Defines "literariness" as quality of "making strange" that which is linguistically familiar. Randall presents study of: "Mindwheel,""Brimstone,""Breakers,""A Mind Forever Voyaging,""Portal," and "Trinity." Suggests that the literariness of interactive fiction comes out of its concern for "making strange" what is familiar and vice versa.

   Jill Walker Rettberg - 29.06.2013 - 09:42

4. Synesthesia and Intersenses: Intermedia

   1965, Originally published in Something Else Newsletter 1, No. 1 (Something Else Press, 1966). Also published as a chapter in Dick Higgins, Horizons, the Poetics and Theory of the Intermedia (Carbondale, IL: Southern Illinois Univ. Press, 1984).

   Scott Rettberg - 29.06.2013 - 13:01

5. The Cult of Print

   Rev. of Sven Birkerts' The Gutenberg Elegies: The Fate of Reading in an Electronic Age.

   Scott Rettberg - 01.07.2013 - 13:08

6. We Interrupt This Magazine for a Special Bulletin -- PUSH!

   We Interrupt This Magazine for a Special Bulletin -- PUSH!

   Scott Rettberg - 02.07.2013 - 11:14

7. The Death of the Author / Mort de l'auteur

   "The Death of the Author" is a 1968 essay by the French literary critic and theorist Roland Barthes. Barthes's essay argues against traditional literary criticism's practice of incorporating the intentions and biographical context of an author in an interpretation of a text, and instead argues that writing and creator are unrelated.

   The essay's first English-language publication was in the American journal Aspen, no. 5-6 in 1967; the French debut was in the magazine Manteia, no. 5 (1968). The essay later appeared in an anthology of Barthes's essays, Image-Music-Text (1977), a book that also included his "From Work To Text".

   (Source: Wikipedia entry on The Death of the Author)

   Jill Walker Rettberg - 05.07.2013 - 14:52

8. The Coding and Execution of the Author

   One seldom-discussed cybertextual typology is offered by Espen Aarseth in chapter 6 of Cybertext, "The Cyborg Author: Problems of Automated Poetics." As someone who writes using computers—and who writes entire works whose course is influenced by this use of computers—this neglected topic in cybertextual studies seems to demand my attention not only as theorist and a critic but as an author. Am I crediting my computer properly when I attribute the authorship of works that my computer helped to create? Should I give myself and my computer a "cyborg name" (like a "DJ name") for just this purpose? When I write or use a new program, or replace my computer with a faster one, am I a new cyborg and thus a different author? Should my computer have a say in the publishing and promotion of works that we authored together? And should other important and inspirational mechanisms—my CD player, for instance, and my bookshelves—get cut in on the action as well?

   Scott Rettberg - 08.07.2013 - 16:19

9. Poetic Machinations

   The article first recalls the historical evolution of computer poetry which, from Théo Lutz (1959) to alire (1989), evolves from experimentation to cultural entity. The emphasis is placed on the French evolution through its main expressions, which are the A.L.A.M.O., the first telematic review Art-Access the Les Immatériaux exhibition and the birth of L.A.I.R.E., a difference of viewpoints, of approaches and of the space given by the authors to computer poetry concerning the arts, the machine and the text. This progressive differentiation of focus questions approaches which were thought to be unchanging, regarding the notions of text, reader and author. This questioning started with the A.L.A.M.O. and progressed with L.A.I.R.E. Its description and the expression of the answers it proposes requires a new critical approach to the notion of text, more anchored in a communication pattern which has been developing since 1993 and whose present state is summed up in the third part. The article ends by demonstrating that the smooth running of alire is the full expression of what these new answers imply.

   (Source: Visible Language website)

   Alvaro Seica - 27.08.2013 - 11:39

10. New Media Poetry: Theory and Strategies

    Going beyond the mere employment of new communication technologies in the production of poetic texts, new media poetry integrates characteristics of the new media in the theoretical basis of its poetics. This paper outlines this basis and shows how it affects poetic and verbal conventions, particularly with respect to the constitution of texts and the roles of author and reader, and with regard to its implications for our views on language. The author thus contends that the innovative force of new media poetry lies not in the communicative channels used (e.g., computers, video, holography) per se, but in the exploration of their ramifications for syntactic, semantic and pragmatic aspects of verbal/poetic communication in general. This view is further developed through a discussion of some writing strategies of new media poetry.

    (Source: Visible Language)

    Alvaro Seica - 27.08.2013 - 14:47

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