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1. 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

2. News Wheel Artist Talk

   In this Artist Talk, Jody Zellen introduces her new work News Wheel as well as showing some of her other works in which she uses 'the news', namely All The News That's Fit to Print, Without a Trace, and Time Jitters.

   Hannah Ackermans - 26.06.2016 - 17:10

3. Review of Heather Houser’s Ecosickness in Contemporary U.S. Fiction: Environment and Affect

   In this review of Heather Houser’s Ecosickness in Contemporary U.S. Fiction, Sharalyn Sanders identifies the hopeful potential for environmental justice via contemporary literature. Finding a solidarity implied between intersectional identities and ecocriticism, Sander’s finds in Houser’s call for “scholarly activism” an antidote to the detachment which threatens to thwart environmental awareness.

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

   Malene Fonnes - 22.09.2017 - 08:49

4. Lexia to Perplexia:

   hypertext? cybertext? hypermedia? webart? while new media critics debate the terms, Talan Memmott has produced the thing itself, a creative use of applied technology.

   (Source: ebr)

   Lisa Berwanger - 17.10.2017 - 15:28

5. Tending the Garden Plot: Victory Garden and Operation Enduring...

   Dave Ciccoricco returns to Stuart Moulthrop, considers Operation Enduring Freedom (2003) in light of Operation Desert Storm (1991), and consults the annals of World War II for a likely source of “Victory Garden,” the title of Moulthrop’s 1991 network fiction on the Gulf War.

   Trung Tran - 24.10.2017 - 14:09

6. a Joseph McElroy festschrift

   Andrew Walser introduces a gathering of essays on and by the novelist Joseph McElroy.

   Glenn Solvang - 07.11.2017 - 12:39

7. Joseph McElroy's Cyborg Plus

   Salvatore Proietti straddles science and fiction to offer an interpretation of a McElroy Cyborg.

   Glenn Solvang - 07.11.2017 - 13:21

8. The Godfather Seen Through The Lens of Elite Criticism (and Vice Versa)Jp

   Chris Messenger achieves a rare convergence of elite and popular cultural criticism by doing for The Godfather (and its spinoffs) what previous critics have done for Uncle Tom’s Cabin.

   Glenn Solvang - 07.11.2017 - 15:03

9. Interview with Mez Breeze

   Mez Breeze is an awarded artist and writer of new media works. The topics in this interview range from code works, the importance of learning to code and the interplay of fiction, video games and art in some of her latest works that are characterized by multimodal narrative, game mechanics and VR technology.

   Daniele Giampà - 05.04.2018 - 21:16

10. E-Lit in the Gutter: Applying McCloud's Transition Categories to Interactive Fiction

    Scott McCloud’s Understanding Comics has been a staple text in digital media classes for decades. Chapters focusing on topics such as symbolic and iconic representation, relationships between word and image, and the illustration of time provide powerful insights into the creation and interpretation of digital works. McCloud’s analysis of the visual-centric comic medium bears obvious relevance to what we create and see on the screen. For those working in interactive fiction, however, the most useful chapter may be the one dedicated to what cannot be seen. Chapter 3, “Blood in the Gutter”, examines the physical and narrative gaps between frames in a comic strip or book. These gaps, or “gutters” are the visible whitespaces between inked panes and, simultaneously, the conceptual spaces between points in a narrative. McCloud’s examination of these spaces offers valuable insights for both authors and readers of the code-triggered gaps between hyperlinked elements of an interactive fiction. 

    June Hovdenakk - 29.08.2018 - 15:30

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