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Writing Machines by N. Katherine Hayles, Anne Burdick

By N. Katherine Hayles, Anne Burdick

Tracing a trip from the Fifties during the Nineties, N. Katherine Hayles makes use of the autobiographical personality of Kaye to discover how literature has remodeled itself from inscriptions rendered because the flat sturdy marks of print to the dynamic photographs of CRT monitors, from verbal texts to the various sensory modalities of multimedia works, from books to technotexts. Weaving jointly Kaye’s pseudo-autobiographical narrative with a theorization of latest literature in media-specific phrases, Hayles examines the ways that literary texts in each style and interval mutate as they're reconceived and rewritten for digital codecs. As digital records develop into extra pervasive, print looks no longer because the sea within which we swim, obvious simply because we're so familiar with its conventions, yet really as a medium with its personal assumptions, specificities, and inscription practices. Hayles explores works that concentrate on the very inscription applied sciences that produce them, analyzing 3 writing machines extensive: Talan Memmott’s groundbreaking digital paintings Lexia to Perplexia, Mark Z. Danielewski’s cult postprint novel apartment of Leaves, and Tom Phillips’s artist’s booklet A Humument. Hayles concludes by means of speculating on how technotexts impact the improvement of up to date subjectivity. Writing Machines is the second one quantity within the Mediawork Pamphlets series.

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Literary Material Metaphors, Technotexts, and Media-Specific Analysis 30 criticism and theory are shot through with unrecognized assumptions specific to print. Only now, as the new medium of electronic textuality vibrantly asserts its presence, are these assumptions clearly coming into view. In his influential essay “From Work to Text,” Roland Barthes uncannily anticipated electronic hypertext by associating text with dispersion, multiple authorship, and RHIZOMATIC structure. In positioning text against work, Barthes was among those who initiated semiotic and performative approaches to discourse, arguably one of the most important developments in literary studies in the last century.

59 Electronic Literature as Technotext: Lexia to Perplexia The apparatus names not only the technology but also the interpolated subjects who have become indistinguishable from electronic messages. proclaims, \ ... “Hyperlobal” neatly sutures lobes—presumably of the brain—into the hyperglobal expectations of a worldwide communication system, creating a technohuman hybrid. A similar conflation resonates in logos as a mathematical (sine) function and a word capable of signification (sign). If re-organization occurs, these neologisms suggest, it will operate to fuse human subjectivity with silicon processes.

This judicial history, played out in a contentious environment where conflicting economic, political, and class interests fought for priority, had important consequences for literature that went beyond purely legal considerations, for it helped to solidify the literary author as a man of original genius (the author’s assumed gender in these discourses was invariably male) who created literary property by mixing his intellectual labor with the materials afforded him by nature—much as Locke had argued men created private property by mixing their labor with the land.

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