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1. Electronic Literature and the Mashup of Analog and Digital Code

   This essay examines the complexity of contemporary electronic literary practice. It evaluates how electronic literature borrows from, and also influences, the reception of the textual message in other forms of communication that efficiently combine image, sound and text as binary data, as information that is compiled in any format of choice with the use of the computer. The text aims to assess what it means to write in literary fashion in a time when crossing over from one creative field to another is ubiquitous and transparent in cultural production. To accomplish this, I relate electronic literature to the concept of intertextuality as defined by Fredric Jameson in postmodernism, and assess the complexity of writing not only with words, but also with other forms of communication, particularly video. I also discuss Roland Barthes’s principles of digital and analogical code to recontextualize intertextuality in electronic writing as a practice part of new media. Moreover, I discuss a few examples of electronic literature in relation to mass media logo production, and relate them to the concept of remix.

   Patricia Tomaszek - 06.05.2011 - 15:17

2. Collaborations in E-lit

   This essay, a discussion between two esteemed e-poets for whom collaboration is an integral part of their creative practice, appeared in the "The Collaborative Turn" special issue of American Book Review, guest-edited by Davis Schneiderman. In their discussion, Montfort and Strickland survey several common types of e-lit collaboration and provide links to representative examples. Strickland explicitly links the material aesthetics of code poetics to literary theorist Timothy Morton's call for critical thinking that engages the universe's enmeshed interconnectedness, which he dubs "the ecological thought."

   Eric Dean Rasmussen - 29.12.2011 - 11:45

3. Surf-Sample-Manipulate: Playgiarism On The Net

   At the opening of his influential essay entitled "Critifiction: Imagination As Plagiarism," novelist and critic Raymond Federman[1] says:

   We are surrounded by discourses: historical, social, political, economic, medical, judicial, and of course literary.
   Raymond Federman

   He then goes on to suggest two things: one, that the imagination should be used as an essential tool that leads to the formulation of a discourse and, two, that the practice of plagiarism is embedded within the creative process since the writing of a discourse always implies bringing together pieces of other discourses.
   This reminds me of a conversation I once had with the novelist Kathy Acker[2]. We were on a radio program together in Boulder, Colorado, and the interviewer asked her where she got her "writer's voice" from? Acker replied "What voice? There's no voice in my work: I just steal shit."

   (Source: Author's Introduction)

   Alvaro Seica - 20.02.2014 - 12:40