scott rettberg
scott rettberg
scott rettberg
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letters that matter: review of the electronic literature collection in ebr
filed under: e-lit, elo, reviews — scott at 3:09 pm on tuesday, october 23, 2007
john zuern offers a detailed and insightful review of the electronic literature collection, volume 1 in ebr. among other aspects of the collection the review addresses is whether or not the difference between print and electronic literature is anything other than trivial?
in asking this question, i am in no way suggesting that nothing is at stake; on the contrary, i am seeking to underscore the urgency of the multifaceted project, carried on by many different artists and critics and editors, to consolidate something like “electronic literature” as a domain of creation and inquiry that can do justice both to the advancement and investigation of its material culture and to the philosophical, conceptual frameworks that guide that advancement and investigation. at the heart of this project is the relationship between protocols of computation and protocols of human language use, a relationship that despite all the critical attention it has received continues to present itself as vexed and indeterminate.
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guest lecture monday: samuel weber on walter benjamin
filed under: conferences/readings, uib — scott at 4:09 pm on thursday, october 18, 2007
below is a flier (pdf) for samuel weber’s upcoming guest lecture on monday, october 22nd from 14:15-16:00. the lle digital culture research group is cosponsoring weber’s lecture along with the institutt for informasjons og vittenskap.
mandag 22. october. 1415-17
seminarrom 548, plan 5.
lauritz meltzers hus, fosswinkelgate 6
samuel weber: “origins and relevance of walter benjamin’s media theory: from reflexivity to ‘sobriety’.”
samuel weber is professor at northwestern university. he is a leading authority on the writings of walter benjamin. in his book “mass mediauras: form,technics, media” (1996) weber showed the continued importance of aura to the aesthetics of the media age. he has translated benjamin, as well as theodor adorno and jacques derrida into english. in bergen weber will give a broad historical presentation and assessment of benjamin’s media theory.
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new aesthetic technologies conference at uib, october 17th
filed under: conferences/readings, uib — scott at 11:50 am on wednesday, october 10, 2007
below is a flier (pdf) for the new aesthetic technologies conference, which will be held at the university of bergen all day on wednesday, october 17th, featuring guest speakers bernard stiegler and n. katherine hayles. the lle digital culture research group is cosponsoring n. katherine hayle’s visit along with the institutt for informasjons og vittenskap. i’d particularly encourage anyone interested in digital culture to attend hayle’s lecture “electronic literature and distributed cognition: what happens to literary art when the environment starts to think” in lille auditorium, plan 2, lauritz meltzers hus, fosswinkelgate 6 at 14.00.
n. katherine hayles, distinguished professor at ucla, is one of the foremost scholars of the relationship between literature and science. she is the author of “chaos bound”, “how we became posthuman: virtual bodies in cybernetics, literature and informatics”, “writing machines” and “my mother was a computer: digital subjects and literary texts.” her book, “how we became posthuman: virtual bodies in cybernetics, literature and informatics”, won the modern language association’s rene wellek prize for the best book in literary theory for 1998-1999, and “writing machines” won the media ecology association’s suzanne langer award for outstanding scholarship.
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dancing kangaroo
filed under: travel, photos, random — scott at 10:30 am on monday, september 24, 2007
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getting translated . . . into bulgarian
filed under: random, publications — scott at 5:33 pm on wednesday, august 29, 2007
the internet works in mysterious and sometimes wonderful ways. yesterday i got an email from reneta bozhankova of the faculty of slavic studies at sofia university bulgaria on behalf of a journal called literaturata (the literature), asking if they could translate my essay “all together now: collective knowledge, collective narratives, and architectures of participation” into bulgarian. i had to get out a map to remind me where bulgaria actually is, but i’m pleased as punch that somebody wants to take the effort to translate some of my writing, particularly into a language i have no hope of understanding. a revised version of that essay will also be coming out next year in new narratives: theory and practice, thomas browan and ruth page, eds. published by university of nebraska press, but i’m glad that the bulgarians will be able to read it in their native tongue first. now if we could only find some romanians willing to translate the unknown . . .
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stuart moulthrop, guest researcher
filed under: teaching, e-lit, conferences/readings, digital culture, uib — scott at 8:36 pm on monday, august 13, 2007
(click for pdf)
we’re very pleased to be welcoming hypertext pioneer and new media innovator stuart moulthrop to uib as a guest researcher for the next two weeks. if you’re in bergen, please attend his lecture on the 22nd or his reading/demonstration on the 23rd.
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rap canterbury tales
filed under: random, digital culture, video — scott at 5:39 pm on sunday, august 12, 2007
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visionary landscapes: electronic literature organization 2008 conference
filed under: e-lit, elo, conferences/readings, grand text auto — scott at 9:18 pm on sunday, july 8, 2007
the elo has just announced a call for papers and works for a major electronic literature conference next may in washington state. i have posted the announcement below. the conference website is not yet online, but will be available on eliterature.org in august.
visionary landscapes: electronic literature organization 2008 conference
thursday, may 29-sunday, june 1, 2008
vancouver, washington
sponsored by washington state university vancouver & the electronic literature organization
dene grigar & john barber, co-chairs
(read on …)
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tagallery
filed under: digital art, e-lit, publications, digital culture, grand text auto — scott at 11:24 am on monday, july 2, 2007
i recently made a contribution to tagallery, a project of cont3xt.net. the project is an experiment in using del.icio.us to collaboratively tag interesting sites related to new media art and literature. each curator/participant is contributing a short “exhibition” of ten links on a theme. predictably, i suppose, i contributed a collection of electronic literature links.
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the kiss
filed under: family, photos — scott at 7:28 am on monday, june 4, 2007
jill and i got married on saturday. it was a wonderful ceremony and a great party afterwards. we couldn’t be happier. thanks to everyone who was a part of it, and thanks to charley for getting this pic.
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electronic literature in the chronicle of higher education
filed under: e-lit, elo, conferences/readings, grand text auto, interviews — scott at 7:14 am on wednesday, may 30, 2007
the chronicle of higher education published a multimedia piece on electronic literature including an article (archive), a video piece, and a podcast interview with n. katherine hayles. look for video link under the screenshot of the electronic literature collection, and the audio interview off to the right. the chronicle covered the open mouse/open mic reading at the elo’s recent “future of electronic literature” symposium in college park maryland. although the preoccupations of the reportage are a bit noob-ish (the video reporter mentions that the reading was plagued with technical difficulties when in fact it was a comparatively glitch-free evening in comparison to others, and many of the reporters’ questions were focused on the fact that there is not a massive popular audience for electronic literature rather than more interesting concerns — who is the stephen king of electronic literature? well, ahem . . . king is a tough one but robert coover is sort of our oprah . . .), it is nonetheless great see this esteemed weekly showing an interest in electronic lit, and hayle’s audio interview is well worth the price of admission (particularly if you already subscribe to the chronicle).
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e-poetry 2007 paris cellfone video documentary extravaganza
filed under: digital art, travel, conferences/readings, digital culture, grand text auto, poetry — scott at 12:24 pm on sunday, may 27, 2007
first of all, let me point in brief to networked_performance for simon biggs’ very good report on the e-poetry 2007 festival in paris. i agreed with him that robert simanowski’s close reading of “listening post” was probably the best of the academic papers presented during the conference. i was also a fan of jim carpenter’s presentation, in which he talked in a clear and pragmatic way about best practices for writing good code for epoetry, including distributing source code so that others can learn from it. carpenter recently released a new version of his poetry engine, which will write some pretty good poems for you. there were many other papers and panel discussions as well, though this festival was primarily about the poetry. for four nights in a row, there were three to four hours of poetry readings. the e-poetry scene is much more performance-oriented than other venues for electronic writing, and some of the performances were much more video art or performance (for example one work allegedly about the objectification of women included the performer disrobing on stage — providing the festival with an early controversy, which all such gatherings require) than they were electronic writing as it is usually understood. that was fine with me. overall, i appreciated my first experience of this very vibrant scene that exists between visual, conceptual, performance, computer, and writing. i also enjoyed the opportunity to meet many writers i have worked with and communicated with extensively online in person, in addition to spending time with old friends in one of the world’s great cities. rather than a more formal report, i offer you this cellphone video extravaganza — short clips of 30 seconds to a minute of many readings from the festival. forgive the quality — it was my phone used in dark crowded rooms filled with poets drinking in the poetry, after all.
a brazilian epoet setting fire to her poems onstage, a la jimi hendrix.
(read on …)
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escalator de pompidou
filed under: travel, video — scott at 10:14 am on saturday, may 26, 2007
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not i
filed under: travel, art, video — scott at 9:13 am on saturday, may 26, 2007
from the samuel beckett exhibition at the pompidou in paris.
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remarks from the uk electronic literature collection launch, et plus, deux reviews
filed under: e-lit, elo, conferences/readings, reviews — scott at 6:02 pm on friday, may 25, 2007
at the request of kate pullinger, i have posted my remarks from last week’s uk launch of the electronic literature collection.
et plus, there are two new reviews of the elc. from montreal, there is a very thorough and intelligent review of the collection by patrick ellis (in english and french) published in le magazine électronique du ciac. from austria, there is a very good review of the elc and other works of electronic literature by franz thalimar in der standard (in german).
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two new publications from the elo
filed under: e-lit, elo — scott at 4:38 pm on friday, may 25, 2007
the electronic literature organization (elo) is pleased to announce two new additions to its series of publications. n. katherine hayles’s primer, “electronic literature: what is it?” and joseph tabbi’s “setting a direction for the directory: toward a semantic literary web” are now available on the electronic literature organization’s website.
n. katherine hayles’s “electronic literature: what is it?” establishes a foundation for understanding e-lit in its various forms and differentiates creative e-lit from other types of digital materials. this primer serves the twin purposes of reaching general readers and serving students and institutional audiences by providing descriptions of major characteristics of electronic literature and reflections on the nature of the field. this piece will also appear as the introductory chapter of hayles’s book electronic literature: playing, interpreting, and teaching (coming from notre dame press in fall 2007). the book will also include the cd-rom of the electronic literature collection, volume one — a compendium of 60 digital works of poetry and prose, published by the elo in october 2006.
joseph tabbi’s “setting a direction for the directory: toward a semantic literary web” outlines and analyzes the critical issues relating to the description and classification of e-lit. tabbi describes an approach that will allow the elo directory and other digital resources to be more useful, maintainable, transparent, and integrated with evolving technologies. the work organizes the terms of the problem into a call for an overall strategy of editorial and community-driven discourse about e-lit that will also be dependent on metadata solutions that are convergent with those described and implemented in other elo publications.
(read on …)
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po-ex — portuguese epoetry
filed under: e-lit, conferences/readings, poetry — scott at 1:57 pm on monday, may 21, 2007
after a late night of epoetry readings in a smokefilled theater in montmartre (more on that later) and the excess you’d expect, after getting lost in st. denis (i think i wandered into one of the neighborhoods where they set cars on fire during the riots), i finally found my way to auditorium x and have witnessed a few panels here at paris 8. just a quick note: pedro reis (of fernando pessoa university) gave a presentation on an upcoming publication, a collection of epoetry in portuguese which will be published both online and on cd-rom, the po-ex project.
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jeorg piringer performance at epoetry 2007
filed under: conferences/readings, poetry, video — scott at 1:44 pm on monday, may 21, 2007
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elc uk launch report
filed under: travel, e-lit, elo, conferences/readings, digital culture, grand text auto — scott at 3:59 pm on saturday, may 19, 2007
the electronic literature collection uk launch event i attended thursday night in leicester, england went very well. about 40 people turned up for the salon, including many of the former trace regulars, interested local people, and people who took the train up from london. i gave a short introduction to the collection, and john cayley, kate pullinger, jon ingold, and chris joseph, read from the work. in his introduction, john cayley discussed the context of electronic literature with the traditional literary world and the art world, showed a bit of translation, and asked us to think about whether this form of literary art was literature or something else entirely. jon ingold gave what was possibly the best short introduction i have yet heard interactive fiction, in particular the brutality of the constraints involved in writing if, before guiding the audience through a short reading of all roads. in her presentation of her work with chris joseph on inanimate alice and other projects, kate pullinger raised questions about the economic models for electronic writing, and discussed how inanimate alice is in part an experiment in developing a commercial model for e-lit. she also discussed istories, a project she is working on with chris to develop a commercial toolset of electronic literature applications that would enable authors with little design or programming experience to more easily develop works in flash. donna leishman also sent in a prepared text which a de montfort ph.d. student, jess laccetti, read to the crowd while chris demonstrated a bit of deviant: the possession of christian shaw. we had a short but spirited panel discussion afterwards, discussing the differences between teaching elit as creative writing and teaching it as literature, economic models for electronic lit, and other things. one of the encouraging things about this event was that a number of readers who had never before encountered e-lit were in the audience, were clearly actively interested in what they saw and heard. i also met a polish ph.d. student who is currently living in london and writing his dissertation about e-lit, and overheard a couple of people from london say that they heard about the event at grand text auto ; ). it was a very good evening, and i’m grateful to the institute for creative technologies, particularly chris joseph for putting it together. jess has also blogged the event, and posted short videos of kate pullinger’s and jon ingold’s readings.
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appropriation in electronic literature: mit5 talk
filed under: e-lit, conferences/readings, digital culture, presentation — scott at 11:51 pm on friday, may 11, 2007
here are the slides from my presentation at the mit5 conference. i was presenting on appropriation in electronic literature. the text of my talk (more notes than finished paper, though i’ll come back to this and post the finished paper to the mit5 site when i get a chance) is below.
appropriation in electronic literature and digital culture
a spectrum of appropriation
the oxford english dictionary cites two definitions of the word “appropriation” that are appropriate to the subject of our discussion here. the first and oldest definition of appropriation, dating back to 1393 is “the making of a thing private property, whether another’s or (as now commonly) one’s own; taking as one’s own or to one’s own use; concr. the thing so appropriated or taken possession of.” a more recent 2002 draft addition is “* art (orig. u.s.). the practice or technique of reworking the images or styles contained in earlier works of art, esp. (in later use) in order to provoke critical re-evaluation of well-known pieces by presenting them in new contexts, or to challenge notions of individual creativity or authenticity in art.”
it’s important to note that while our main concern is those practices which fall under the latter definition, those practices may also include the former. we can think of the artistic practices of appropriation on a spectrum that ranges from coy modernist practices of referentiality in the work of writers such as ts eliot, to the practice of recontextualizing and satirizing, such as marcel duchamp’s practice in the readymades or l.h.o.o.q., to the practice of using one literary work as a basic material for another, as in tom philips a humument, to the overt overwriting practices of kathy acker. at an extreme end of the spectrum of literary appropriation is plagiarism, simply taking someone else’s work and publishing it under your own name.
there is of course nothing new under the sun, and writers and artists have been making use of appropriation strategies since the ancient greeks. shakespeare borrowed both plot and occasionally specific lines from raphael holinshed’s chronicles of england scotland, and ireland, and nearly every writer since shakespeare has borrowed from his work, borrowing a plot, a situation, a line or several. the widespread use of appropriation is not nearly as surprising as the fact that a combination of the popular mythology of authorship and the dictates of contemporary copyright law have contributed to a popular illusion that most creative works are in any sense “original,” or that authorship is ever really a matter of a singular genius working in isolation from the texts and authors that have come before.
in our short talks and discussion today, we’ll be focusing on forms of appropriation in electronic literature and other textual digital artifacts that make use of appropriation strategies including reference, homage, overwriting, recontextualization, and outright thievery. we’ll be focusing on the ways that appropriation has affected our own work as writers in the networked digital environment. i’ll focus on the “softer” side of appropriation in electronic literature and digital art: those kinds of appropriation that use materials from other sources in order to recontextualize or comment on the originals in the creation of a new work. nick will focus on “five-finger digital culture”: bolder and more extreme forms of appropriation in which artists explicitly take the words or material of others. jill will discuss how appropriation shapes and structures the blogosphere. following these short talks, we’ll have a more informal group discussion of the relationship between appropriation and collaboration and then welcome questions from the audience.
before moving to examples of appropriation in electronic literature and in my own work, i’d like first to consider briefly the place of appropriation in network culture more generally.
the appropriative nature of the networked culture
while appropriation has always been a part of the processes of writing literature and making art more generally, with the growth of the internet and the rise of networked culture, concurrent with the inculcation of “postmodern” collage and pastiche into high and low culture, sampling, remixing, and mashup in music, film, and television, appropriation has become one of the principle modus operandi of culture in our day. the idea of hypertext itself is appropriative, resistant to the idea of any single written text or work of art existing in isolation. in conceptualizing a hypertext system, ted nelson wrote of the idea of literature that “within bodies of writing, everywhere, there are linkages we tend not to see. the individual document, at hand, is what we deal with; we do not see the total linked collection of them all at once. but they are there, the documents not present as well as those that are, and the grand cat’s cradle among them all.” (nmr 447) nelson conceived of the hypertext link as a device to make texts extend to those other texts from which they derived, and those that in turn were derived from them, as well as those that they were in conversation with. nelson himself, in imagining his unrealized xanadu hypertext system, clung quite deliberately to the notion of copyright – imagining a system in which every link, every borrowed and remixed piece of content would credit its owner with a micropayment. the hypertext system of the world wide web, however, has no similar system baked into it. while some wall their writing behind subscriptions or drm apparatus that require users to pay to play, the general practice of the web is to simply publish information on the network, making it available to all free of charge. the question of who then owns the information, and the legal questions of what someone else may then do with it aside, the global hypertext network works so well only because we make these texts freely available, and because we feel free to link to any other text we want to.
stewart brand identified one of the central tensions of the network era at the first hacker’s conference in 1984 when he said, “on the one hand information wants to be expensive, because it’s so valuable. the right information in the right place just changes your life. on the other hand, information wants to be free, because the cost of getting it out is getting lower and lower all the time. so you have these two fighting against each other.” the question, of course, isn’t really what information wants, but what people want. if we consider what authors and artists might want, in comparison to what their audiences might want, we might expect that the creators want to get paid for their work, while the audiences want unfettered access to it. but the equation is not that simple. while artists like to eat, it is in the nature of the vocation to value appreciation more than remuneration. given a choice between an audience of one hundred devoted readers and a hundred dollar bill, i think many writers would forego the cash. furthermore, while everyone wants to enjoy the fruits of their labors, artists raised in a multimediated culture recognize that the without unfettered access to other cultural products, without the ability to reference, reuse, remix, and sample from the culture, their work becomes nearly impossible. imagine, for instance, an extremely copyrighted world in which it would be impossible to reference a television show, or a song, or a brand of toothpaste in a novel without first asking permission and paying a fee. because so much of the twenty-first century lifeworld is owned, copyrighted and trademarked, it is almost impossible to create art that reflects contemporary reality without appropriating from it.
in his wonderfully plagiarized/pastiched essay in the february 2007 issue of harper’s “the ecstasy of influence,” jonathan letham notes that “even as the law becomes more restrictive, technology is exposing those restrictions as bizarre and arbitrary.” the first generation raised on the network is furthermore wholeheartedly dismissing those restrictions. few contemporary college students feel any qualms about downloading any music, television show, or movie they want to. filesharing technology tends to stay ahead of industry attempts to police it. there is an enormous disjuncture between what is clearly becoming the most widely embraced cultural ethos and the evermore-restrictive copyright regime. there is no question in my mind who will lose this war, it’s already in the hands of a culture accustomed to borrowing, swapping, sharing, or from another perspective, stealing intellectual property. yet piracy may be more benign than industry fearmongers make it out to be. the same college students who download gigabytes of music and movies illegally still purchase songs on itunes, leave their dorm rooms to go to the movie theater, and pay exorbitant prices for tickets to see their favorite bands play live. the culture of downloaders might no longer be asking which aspects of their cultural consumption they need to pay for, but rather which they want to support. having made the leap to rejecting contemporary copyright law altogether, many in this generation are also pushing the boundaries of fair use when it comes to using media artifacts owned by others in creating their own forms of expression.
i’m sure that most attending this conference are familiar with the creative commons movement, which attempts to find a middle ground between restrictive copyright regulations and the public domain, enabling creators to license their works in ways that permit that to be shared and reused to extents they determine. since the birth of the movement, an enormous amount of textual, audio, and video content has been licensed in this fashion. many artists are welcoming the opportunity to participate in a gift economy, and to contribute their own artwork as a material to be recontextualized, reused, and in a sense, recycled by others. while illegal appropriation of images, audio, and texts was a common practice in the early years of the web, an increasing proportion of creative artists are making appropriation entirely permissible.
from my perspective as a writer and as a literary scholar, one of the most compelling questions about both these changes in attitude and practice with regard to copyright, and the changes in the nature of digital textuality more generally are what impact they will have on both the nature of literary artifacts, and on the culture in which they are produced and distributed. the emerging culture of electronic literature in particular provides some intriguing models of modes of appropriation. the field of electronic literature is largely one based on a gift economy, in which the majority of authors and journals publish and make their works freely available online. while to date, few works of electronic literature are published under the least restrictive creative commons licenses, which allow sampling and reuse, one can anticipate that in the future more authors will do so.
different modes of appropriation are already an important part of the toolbox of electronic authors. i’ll provide a few examples of how electronic writers have made use of appropriation before discussing how appropriation has functioned in my own work.
appropriation by reference in early hypertext fiction
tearing a page from the modernist and postmodernist print authors who preceded them, referential appropriation was a common practice in the works of the authors of the first widely read hypertext fictions, published before the rise of the web in the storypace platform. michael joyce’s afternoon, a story, published in 1987 by eastgate systems, for example, included characters named (lolly and naussica) after characters in other classic literary works, and includes quotations from other literary works including julio cortazar’s hopscotch and “blow up,” frank r. stockton’s “the lady or the tiger,” quotations from tolstoy and samples from a variety of poets. in afternoon, joyce’s mode of appropriation in his fragmented narrative was clearly derivative of familiar modernist referentiality – direct attributed quotes and coy references that joyce used to signal the reader to particular themes in his work, or to personality traits of particular characters.
another classic work of storyspace hypertext, shelley jackson’s patchwork girl, published in 1995 by eastgate systems, made use of a variety of appropriation techniques in delivering a narrative that is to an extent itself about appropriation–specifically developing the theme of identity as a patchwork of appropriated parts. patchwork girl is an explicit response to and recontextualization of mary shelley’s frankenstein.
appropriation as a method of revitalizing “classics” – translation and adaptation
megan sapnar’s pushkin translation
sapnar and ankerson’s figure 5 media series
barry smylie’s illiad
the intruder by natalie bookchin
appropriation as a method of harnessing network discourse
many examples of art that use network traffic/metrics/etc. as basis for algorithmically generated art – for example http://www.cinemavolta.com/phaseframe.html
the impermanence agent
newsreader
appropriation and collaboration
you and we
my boyfriend came back from the war
appropriation in my work
the unknown – homage, overwriting, identity appropriation, network effects, meta-appropriation.
kind of blue – appropriation of characters, situation, and discourse model. explicit appropriation.
implementation — physical appropriation of public spaces as writing media, direct appropriation of some other texts (for example us iraq war propaganda leaflets).
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about
scott rettberg (cv) is a chicago native who now lives in norway. he writes, and writes about new media and electronic literature. he is an associate professor of humanistic informatics at the university of bergen. contact him at scott at retts dot net or catch up with him in person in 2007 at one of these conferences and presentations.
new media writing
the unknown, a hypertext novel. 1998-2002. with william gillespie, frank marquardt, and dirk stratton.
“the meddlesome passenger.” beehive 05:01 (2002). (internet explorer required).
kind of blue, a serial novel for email. frame journal of technology and culture (august 2003).
implementation, a novel on stickers. with nick montfort. 2005.
the electronic literature collection, volume one. n. katherine hayles, nick montfort, scott rettberg, and stephanie strickland, eds. an edited cd-rom and online anthology of selected works of electronic literature. college park, md: the electronic literature organization, 2006.
scholarly work
dissertation: destination unknown: experiments in the network novel. university of cincinnati, department of english and comparative literature, 2003.
“all together now: collective knowledge, collective narratives, and architectures of participation.” published in the dac 2005 conference proceedings, revised version forthcoming as “all together now: collective narratives and collective knowledge communities in context” in new narratives: theory and practice, thomas browan and ruth page, eds.
“reconfiguring place and space in new media writing,” “written on the body: an interview with shelley jackson,” and “avant-gaming: an interview with jane mcgonigal.” (complied pdf) the iowa review web (july 2006).
“experiments in irrational exuberance: the present and future of electronic literature or how i became e-literate.” kairos 7.2 (fall 2002).
“american simulacra: don delillo's fiction in light of postmodernism.” undercurrent #7 (spring 1999).
work in progress
“corporate ideology in world of warcraft.” book chapter in world(s) of warcraft, a critical anthology of world of warcraft studies. hilde corneliussen and jill walker, eds. cambridge: mit press, forthcoming 2008.
“dada redux: elements of dadaist practice in contemporary electronic literature.” digital arts and culture conference, perth australia, september 2007.
misc. writing
the unknown, an anthology: an anthology of fiction and poetry by william gillespie, scott rettberg, and dirk stratton, published in 2002 by spineless books. pdf free for the clicking, buy the book from spineless books.
piercing through, a play i wrote back in 1997 about a group of college students studying existentialism together during the first gulf war (more fun than it sounds), which was selected by the cincinnati playwrights initiative and performed as a staged reading at the aranoff center for the arts in cincinnati, ohio.
interviews/media
“curating ambiguity: the electronic literature collection, volume one: an email conversation with scott rettberg” by franz thalimar. cont3xt #4, november 2006.
“interview of scott rettberg” by simon mills. framed: contextualizing digital art and writing between 1998-2005, september 16, 2006.
“e-voking muses: the next wave in world literature is gestating in a scruffy ravenswood office” by julia keller. the chicago tribune, may 18, 2001.
“hypertext: reading between the links” by julia keller. the chicago tribune, august 15, 1999.
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susanne on new aesthetic technologies conference at uib, october 17thlinn on new aesthetic technologies conference at uib, october 17thscott on getting translated . . . into bulgariancezar nicolescu on getting translated . . . into bulgarianvisionary landscapes: electronic literature organization 2008 conference | william patrick wend on visionary landscapes: electronic literature organization 2008 conference
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pakistani officials order detention of bhutto and block a marchstudies on pupils call bad behavior not doominga health plan for wal-mart: less stinginessjustice dept. chief faces a test in minnesotaman, 18, is fatally shot by police in brooklynin farm belt, ethanol plants hit resistancein mixed slice of baghdad, old bonds defy waryankees persuade posada to stayexercise advice often ignores jiggle factorhuckabee in iowa
npr: atc
canadian booksellers take a hit on dual pricingactress' downfall shows culture shift in vietnamearly education a potent issue in electionhomeless war veterans span u.s. historythousands flee growing violence in mogadishufrance, germany discuss the iran problemthe science and business behind oil pricessoybean trade drives forest destruction in brazilfeds consider charges in san francisco spillgore teams up with investors on green businesses
boingboing
bbtv: furries part 2, and inside south park studios.jay lake tours a titan missile silosocial networking sites -- eye-opening issue of the journal for computer-mediated communicationsmindwebs: free old science fiction radio playsdustpan with built-in vacuum -- boing boing gadgets
metafilter
ebb into history?peter pan - just believea crack in the war on drugs2012: stories from the near futuresolanum virus outbreak in ancient egypt
new yorker
why we strikevisiting the library in a strange citythe theatretaïmstriking out
bt.no
16-åring død etter mopedkollisjon
samler the kinks igjen
- milliarder vil forsvinne
spår rekord i julehandelen
kometjager nærpasserer jorden
gtxa
accurately reproducing kansascivic media @ mitthe killing machine comes to the u.s.gtxa in your cache?sucking on words
jill/txt
main page - digital native [del.icio.us]83.5% of 16-19-year-old norwegians are on facebook.special issue of jmcm on social network sitesplayful politics at the distant sound of trumpets [del.icio.us]it’s not new media, it’s a new relationship
elo
new on the electronic book review: electropoetics“reading digital literature” at brown university, october 4-7brown appoints john cayley to teach electronic writingcall for submissions–deadline october 19, 2007
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