Cover

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pp. 1-1

Title Page, Copyright Page

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pp. iii-iv

Contents

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pp. v-v

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Preface: Against the Embrace

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pp. vii-xiii

In 1990, British artist and self-proclaimed visionary theorist Roy Ascott wrote, in his essay Is There Love in the Telematic Embrace, “The past decade has seen the two powerful technologies of computing and telecommunications converge into one field of operations, which has drawn into its embrace other electronic media, including video, sound ...

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Introduction: Close Reading

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pp. 1-26

With the increasing importance of digital media in all areas of social and cultural life, it is necessary to define a conceptual framework for understanding the social changes produced by digital media and to show students and readers how to interact critically with digital media and culture. Conferences and publications increasingly develop the ...

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1. Digital Literature

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pp. 27-57

There are many ways to misconceive digital literature. The most popular misconception is that all text appearing in digital media is digital literature. This is as meaningful as saying that a story read on the radio is a radio play. To avoid such misconceptions, it has been asserted that digital literature should be born digital. This stricture does not help much if it is ...

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2. Kinetic Concrete Poetry

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pp. 58-89

Relations between digital media and text so far have been ambivalent and in many respects disappointing. At first, computers and the Internet served as a petri dish for text. Although it was unpleasant to read text on the screen rather than on a page, it was encouraging to find that after the constant dimming of the Gutenberg Galaxy relative to modern media ...

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3. Text Machines

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pp. 90-119

at the end of the 1980s, when people started to write about digital literature, they took their keywords and perspectives from the philosophers of the time, who intensively discussed death: the death of truth, the death of grand narratives, the death of identity, and the death of the author. Hypertext seemed to fit perfectly into this way of thinking. It was considered ...

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4. Interactive Installations

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pp. 120-157

Once upon a time, visual art was simple: it originated with an artist’s conception and craft, which the viewer acknowledged and then strove to understand while standing before the object. When paintings turned abstract, when found objects were glued to the canvas, and when urinals were brought into the museum, art changed. But it still observed the classic ...

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5. Mapping Art

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pp. 158-186

Mapping art is the art in which the computer celebrates itself because this art is made manifest on the basis of the computer’s most significant feature: once digitized, once represented to the machine, all phenomena lose their bodies and live as numerical code that can easily be materialized in different forms. In this sense, the computer is a relative to ...

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6. Real-Time Web Sculpture

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pp. 187-207

Producing a collage of text taken from real-life communication is now a common praxis in experimental literature and has been advocated as one of the essential features of, for example, a Dada poem. If these ready-made texts are presented on screens, one may still consider such collage as experimental literature. If they are taken from the Internet and ...

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Epilogue: Code, Interpretation, Avant-Garde

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pp. 208-230

The last sentence of the last chapter is not intended to promote a shift of focus from hermeneutics to erotics. The discussion of Listening Post has made clear that the erotics of the overall embrace of its different utterances can only be perceived once one has realized the differences those utterances signify. The erotics proposed does not replace ...

Notes

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pp. 231-258

Bibliography

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pp. 259-274

Index

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pp. 275-291