electracy

An overview of Gregory Ulmer’s thought by Victor Vitanza.

1. How do we not know we think, yet think?

Gregory Ulmer (a.k.a. ‘Glue’) has been for some time developing a theory of invention that would be appropriate and productive for those cultural theorists who have an interest in electronic media. (Invention, classically defined in oral and print culture, is the art of recalling and discovering what it is that one would think or say about a given subject. In electronic culture, invention takes on new ramifications). In his Applied Grammatology (1985), Ulmer moves from Derridean deconstruction (a mode of analysis that concentrates on inventive reading) to grammatology (a mode of composition that concentrates on inventive writing); that is, he moves towards exploring “the nondiscursive levels - images and puns, or models and homophones - as an alternative mode of composition and thought applicable to academic work, or rather, play.

This article discusses the changing role of literature in the contemporary media landscape. Literary scholarship may well maintain its importance in the digitalizing world, but this requires it to engage in an open dialogue with cultural and media studies. It is important that more attention is paid to contemporary literature as well as to new media offering significant pedagogical possibilities, which should be better acknowledged. The article's main focus is on the emerging field of digital literature. Cybertextuality, especially, is fundamentally changing our notions of the integrity of a literary work, reading, writing and interpretation. I attempt to describe and put into context one sample case of cybertextuality, The Impermanence Agent by Noah Wardrip-Fruin et al. Finally, I discuss some of the practical problems faced by teachers who introduce digital literature in their classrooms.

(Source: Author's abstract)

Reprinted in Online Learning Vol 2: Digital Pedagogies (Sage, New York, 2011)

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 it generates. This implies to introduce students and readers to the new methods of critically interacting with media in digital culture. Conference presentations and publications develop the theoretical background and methods needed in scholarship and education to approach the new topics. At various universities, scholars discuss the consequences of such developments under the umbrella terms of digital literacy, digital humanities, or “electracy.” Nevertheless, scholars also must concentrate on the aesthetic aspects of digital media, investigating in new artistic genres emerging from or changes in existing genres brought about by digital media. This, however, should not happen on the ground of a metatheoretical discussion or thematic reading, as was common in the 1990s, when the understanding of the technology (such as hypertext) as the embodiment of contemporary critical theory distracted critical attention for the actual work and led to misinterpretations of the theory applied in favor of establishing a link between this theory and technology. It is important not to reduce any specific example of digital art to the status of typical representative of some aspect of digital media or of some genre of digital art. It is time to pay attention to the specificities of particular works. This does not mean that we should abstain from discussing a specific work as an example of a genre, or try to refrain from understand a genre itself as a signifying form in contemporary culture. If close reading aims at critical reading, making generalizations and suggestions concerning certain interdependencies between the particular artifact and the broader cultural situation will be inevitable. The crucial questions are where one starts, how much attention is paid to the work at hand and what, first of all, are the central aspects of a hermeneutic perspective in digital media. The following text proposes a few general ideas towards the development of digital hermeneutics.