Relationship Between Print and Meaning

I came across an interesting distinction between “writing” and “word processing”.
Writing is getting the words right. Word processing is… processing. It’s taking what you’ve written and doing stuff with it. Either bolding this or italicizing that or centering the headline or inserting a table or tweaking the margins or changing the font and sizes or [...]

Super Mario’s Crisis

Artkrush, the online arts magazine, published a new issue today, about digital art. I find myself asking… is this art? The magazine’s editorial tone seems painfully aware of that question:
While the phrase “digital art” used to evoke thoughts of cheesy Photoshopped dreamscapes and clunky animated GIF graphics, it now applies to an ever-expanding, sophisticated [...]

Weblog Discourse

The Reading Experience has a recent post that poses some interesting ideas about “this point in the development of the weblog as a forum for serious discourse”:

What exactly can be done in a blog post?
Blogging about blogging can become just another variation on navel-gazing.
Certainly blog posts can be casual or superficial, but I see nothing [...]

Books in the Future

editors and writers grapple with the Web’s ability to connect readers and writers more quickly and intimately, new technologies that make it easier to search books electronically and the advent of digital devices that promise to do for books what the iPod has done for music.

Electronic Literature: Discourses, Communities, Traditions

Electronic Literature: Discourses, Communities, Traditions by Thomas Swiss, has interesting things to say about the role of collaborative creativity, and something he calls “hybridity”. Swiss emphasizes the act of writing, over the scholarly or public reaction to it: art over theory.
To hear the critics tell it, one problem with emergent digital literary and art forms [...]

Hans Haacke, 1966

. . . make something, which experiences, reacts to its environment, changes, is . . . nonstable . . .
. . . Make something indeterminate, which always looks different, the shape of which cannot be predicted precisely . . .
. . . make something, which cannot “perform” without the assistance of its environment . . .
. . . make something, which reacts to light and temperature changes, is subject to air currents and depends, in its functioning, on the forces of gravity . . .
. . . make something, which the “spectator” handles, which he plays and thus animates it . . .
. . . make something, which lives in time and make the spectator experience time . . .
. . . articulate something natural . . .

Hans Haacke, 1966