Suchergebnisse

Abstract
The concept of the codex book is deeply imprinted on scholarly and literary traditions. It bears within it assumptions about bounded-ness and stability as defining features of the form. Works conceived in a networked environment are referred to as books, but may not exist within the same structural conditions. This article reviews some of the ways the conceptions of the physical codex are linked to production and poses questions about the identity of artefacts produced by processes and protocols in a networked environment. It argues that these unbounded and contingently configured documents do not merely extend the traditional codex, with its apparatus of footnotes, bibliographical citations, and other paratexts, but that these are substantively different types of textual productions because of their fluid instability.

Johanna welcomes governmental regulation on the internet against 'neoliberal entrepreneurialism,' rejects new grand narratives 'reconfigured by the pseudo-authority of computation' and considers the sociality of contemporary existence an obstacle for 'interior life,' innovation, and zoophilia. She compares Digital Humanities with the 'cook in the kitchen' and Digital Media Studies with the 'restaurant critic,' sees the platform and tool development in the Humanities as a professional, not academic track, she calls for a visual epistemology in times of Screen culture and diagrammatic knowledge production and she explains how to contaminate the world of quantitative and disambiguating underpinnings with the virtues of relativism and multi-perspectivism.

Abstract
Interface design pioneers Douglas Engelbart and Ivan Sutherland strove to include hands, feet, body movements and orientation to the screen as part of the basic computational apparatus. They also relied on the visual aspects of graphical interface as a crucial feature of this embodied experience. Since then, the tactile aspects of interface have intensified, and the structures that organize the graphical user interface remain essential to our use of digital environments. Multiple types of media are now embedded in screen-based environments, posing challenges for reading across very disparate frameworks and modalities (media types). I refer to this process as 'frame-jumping', the challenge of moving from one visual and cognitive frame to another, while trying to position ourselves as readers/viewers within the multi-media environment.

In our image-saturated culture, can works of imaginative art have any impact? If so, then what is the critical concept within which their effect can be understood? This article makes use of a systems-theory approach in relation to a longer history of modernist criticism, proposing the idea of refamiliarization as an associative reading that resituates images within networks and scenes of knowledge. The idea is proposed as a task of recovery, rather than alienation, and suggests a line between the shock-effect approach of exposure, predicated on a belief in a false surface to be unmasked, and the totalized concepts of simulacral virtuality that forecloses lived experience. The space made by image events is that space of interpretative activity. The works of a number of key contemporary artists offer an insight into the ways refamiliarization relates to the crises in the identity and impact of fine art and documentary images.

This book addresses the major critical and interpretive issues of contemporary experimental poetic texts. Critical approaches, historical contexts, and basic concepts are surveyed in two introductory essays, while the study of poetic movements in historical context and the chronological trajectory of production of experimental texts are discussed in the first major segment of the volume, Experimentation in Its Historical Moment. The principal topic addressed here is the nature of experimental poetry in revolutionary social contexts. The second major theme, focused upon in the section Experimentation in the Language Arts, is that of language as a vehicle for experiments and cognitive quests, aimed not at the production of truth or social emancipation but at experiential aspects of language and language use. Haroldo de Campos's fragmented poetic prose work Galàxias is a highlighted topic of attention, as are poetic and language experiments in Lettrism, Fluxus, sound poetry, and new technological poetries. The development of the basic tenets of Concrete poetry and current critical perspectives on its status in poetical experimentation constitute the basis of the third section of the book, Concrete and Neo-Concrete Poetry. The relationship of historical Concrete poetry to artistic genres is presented, with special emphasis on Brazil and on contemporary visual writing. The section Memoirs of Concrete, in the context of oral history, includes retrospective accounts by two of Concrete poetry's most renowned editors. The closing section of this book presents statements on the theory and practice of avant-garde poetry by 22 participants in the Yale Symphosymposium on Contemporary Poetics and Concretism