online writing

By J. R. Carpenter, 11 October, 2014
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Abstract (in English)

editorial for frAme 3 - talk given at AWP conference Albany, NY. April 1999.

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Not only does hypertext lead to new forms of creativity, it also leads to new forms of reading. No longer is the reading process something that is strictly linear. It is left to the reader to navigate a text as they please. In this sense the reader becomes partly responsible for the formation of the text.

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Description (in English)

"Presenting the results of a data search sure to strain the capacities of any computer, Milutis proceeds to give an exceedingly close reading of what he modestly calls 'the fundamental core of all literature.'"

Pull Quotes

"this is a piece of literary minutiae, which, while straining the capacities of any search engine, has had a profound effect on literary experimentation. . . . "

"In 1968, Marvin Spevack developed the first computer-assisted concordance to Shakespeare, A Complete and Systematic Concordance to the Works of Shakespeare. Only then were we able to get a full sense of the statistical array of the bard’s this. But the data, while revealing, is still indiscriminant, conflating artistic uses of this with more utilitarian ones. The human operators of this mainframe—an IBM 7094 that was fed punch cards and recorded on magnetic tape—could have treated the output as mere system noise rather than significant information. But Spevack wanted pure data laid out 'in as direct and uncluttered a manner as possible, and yet as seen from different angles, to avoid editorial tinkering and conjecture.' And so this was not filtered from the results."

By Eric Dean Rasmussen, 22 August, 2011
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37-51
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40.2
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Pull Quotes

Such abstracted images of urban reality, with their curious anonymity, frequently take visual form on tierslivre.net.

Given that the blog form implies this immediate connection with both world and audience, it is perhaps surprising that Tumulte repeatedly insists on the writer's need for solitude, describing the long hours spent alone in a room working. Bon is troubled by the way in which the Internet deprives him of silence: "De quel silence vous prive l'Internet si, même si on a organisé de ne voir personne, qu'on est dans sa pièce de travail avec le lit une place et l'ordinateur sur les genoux, on garde la possibilité d'écouter la voix des autres, de recevoir leurs images?" (Tumulte 481).

Creative Works referenced