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Postmodern, Posthuman, Post-Digital
There is also another chapter on the posthumanism in the collection: Glitch Poetics: The Posthumanities of Error by Nathan Jones.
Anna Nacher - 27.04.2018 - 14:50
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Glitch Poetics: The Posthumanities of Error
Glitch Poetics: The Posthumanities of Error
Hannah Ackermans - 27.04.2018 - 15:03
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Our Tools Make Us (And Our Literature) Post
At the start of the movie 2001: A Space Odyssey, two tribes of apes get into a fight over a watering hole, and one group drives off the other. The apes who have been driven away are depressed, and just sit around moping when one of them gets the idea to use a thigh bone of some large animal as a club. First he tries it out on a few dried ribs that are lying about,1 then he uses it to bring down one of the tapirs that had, up until this moment, lived peacefully among the apes in an idyllic, Garden-of-Eden symbiosis. Suddenly, we are back at the watering hole, more of a mud puddle really, and the ape that invented the club is at the head of his troupe, all of whom are armed with their own bone clubs. The larger, stronger apes are still there, furious at the reappearance of the weaker group.
Patricia Tomaszek - 27.04.2018 - 16:18
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Cling-Clang-Cornelius: Digital Sound Poetry as Embodied Posthumanism
Starting from the problematic gap between the unicity of the human voice and the socio-cultural variables that are unavoidably attached to her expressions, this presentation proposes the phenomenon of ‘sound poetry’ as paradigmatic bridge between a biological reality and its posthuman condition. The underlying reasoning harks back to media artist and philosopher Norie Neumark’s remark that sound poetry like no other mode of artistic expression “stimulates reflection on the uncanny and complicated relation between embodiment, alterity, and signification” (2010). Most notably the appropriation and – literal – embodiment of electronic technologies in digital sound poetry has recently yielded a new dynamic to the performativity of poetic composition. With today’s technical possibility to sample and mediate minimal acoustic nuances in the here-and-now we are allowed a glimpse into the supplement of meaning generated by the meeting between text/script and voice/sound. Such post-human amplification of an intrinsically arch-human act accordingly finds its broader relevance broadside conventional aesthetic standards.
Carlos Muñoz - 03.10.2018 - 15:57
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Digital Sound Poetry: Peripheral Platform for Posthuman Performativity
According to Steve McCaffery (1998), sound poetry’s primal goal concerns “the liberation and promotion of phonetic and sub-phonetic features to language to the state of a materia prima for creative, subversive endeavors.” (163). Accordingly, it thrives on an embodied conflict between expectation and interpretation as it allows communicative ‘uptake’ while problematizing the communicative ‘relation.’ Or, as Brandon LaBelle (2010) argued, “sound poetry yearns for language by rupturing the very coherence of it.” The ‘techniques’ thereby employed vary widely: mounting idiosyncratic language and notational systems, performing spontaneous and improvised poetical oralities, fooling with the performer’s body to rupture the ordered movements of vocality, or indeed by appropriating new technologies and digital devices in order to disassemble, reconfigure, and ‘cobble together’ personal or imported sounds and utterances.
Vian Rasheed - 12.11.2019 - 03:47
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Now What: Sharon Daniel and David Clark on the Digital Imaginary
Now What: Sharon Daniel and David Clark on the Digital Imaginary
Scott Rettberg - 31.01.2020 - 14:41
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Unhelpful Tools: Reexamining the Digital Humanities through Eugenio Tisselli’s degenerative and regenerative
Via close readings of Eugenio Tisselli's degenerative and regenerative, ¨paired works that become progressively less comprehensible the more users interact with them," we are able to grasp the ecological costs of the time we spend online. And we can begin to recognize, with Justin Berner, a concern with permanence and ephemerality in the digital sphere that is not unique to the work of Tisselli. It is, rather, a common thematic concern throughout the history of electronic literature. The term that Berner advances for this literary countertext to the instrumentalism of the Digital Humanitiers, is digital posthumanism.
Hannah Ackermans - 10.09.2020 - 10:47
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Post-Digital : Dialogues and Debates from electronic book review volume 1
Post-Digital : Dialogues and Debates from electronic book review volume 1
Eric Dean Rasmussen - 17.09.2020 - 12:28
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Electronic Literature and the Effects of Cyberspace on the Body
In their article "Electronic Literature and the Effects of Cyberspace on the Body" Maya Zalbidea and Xiana Sotelo discuss how new technologies are facilitating the emancipation of subjugat- ed subjects aimed at transforming unequal social relations through an intersectional and performative approach. This perspective is discussed through the exploration of the so-called intersectional ap- proach described by Berger and Guidroz, Haraway's situated knowledges, and Butler's performative agency based on transgressions. Framed within the posthuman, post-biological deconstruction of so- cial and cultural hierarchies, Zalbidea and Sotelo argue for the value of a conjuncture between post- colonial post-modern/post-structuralist literature and the field of feminist cultural studies. Based on previous theories of gender and bodies in cyberspace, Zalbidea and Sotelo develop ideas about bodies, gender, and anxieties, and how these theories may be illustrated metaphorically in electronic literature and new media art works.
Torkjell Fosse - 17.09.2020 - 15:07
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The Politics of Web Materiality: Making Electronic Literature in the Capitalocene
We are on the brink of planetary catastrophe. Environmental, political, health and humanitarian crises have infused the zeitgeist of the Anthropocene with a sense of urgency (Crutzen and Stoermer 2000). Human activity has been placed in opposition (or as an add-on) to Nature, participating in a dialectical discourse that, like the binaries of sexism, racism, or even Eurocentrism, points directly to the violence, inequality and oppression of the modern world (Moore 2016). As these relate to climate and political change, the Anthropocene argument presents the exploitation and accumulation of capital as conterminous to human nature and progress.
Accumulation, however, is not only productive, but necrotic (McBrien 2016), in the sense that it unfolds a slow violence sustained by reduction or, perhaps, extinction: the reduction of cultures, languages and peoples; as well as the extinction of the Earth through depletion of resources. If accumulation is natural to us, then so are reduction and extinction.
Cecilie Klingenberg - 24.02.2021 - 14:40
