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9781609383459

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Pressman, Douglass, and Marino bring their considerable expertise to bear on William Poundstone s remarkable work of electronic literature, Project for Tachistoscope. The result is a richly informative demonstration of the ways the technical, poetical, graphical, and conceptual dimensions of such work calls for literary criticism that dialogues with new media practices. Johanna Drucker, author, Graphesis: Visual Forms of Knowledge Production Reading Project is an inspired collaboration showing how different theoretical frameworks can collaborate productively and synergistically in analyzing a work of digital literature.The book s importance comes not only from the excellent insights it offers but, in a broader sense, as a contribution showing that traditional and digital humanities need not be antagonistic but can work together to understand much more deeply how digital literature works than any one approach could do alone.This should be required reading in every course on contemporary literature, whether print-based or digitally inclined. N. Katherine Hayles, author, How We Think: Digital Media and Contemporary Technogenesis Pressman, Douglass, and Marino bring their considerable expertise to bear on William Poundstone's remarkable work of electronic literature, Project for Tachistoscope. The result is a richly informative demonstration of the ways the technical, poetical, graphical, and conceptual dimensions of such work calls for literary criticism that dialogues with new media practices. --Johanna Drucker, author, Graphesis: Visual Forms of Knowledge Production Reading Project is an inspired collaboration showing how different theoretical frameworks can collaborate productively and synergistically in analyzing a work of digital literature. The book's importance comes not only from the excellent insights it offers but, in a broader sense, as a contribution showing that traditional and digital humanities need not be antagonistic but can work together to understand much more deeply how digital literature works than any one approach could do alone. This should be required reading in every course on contemporary literature, whether print-based or digitally inclined. --N. Katherine Hayles, author, How We Think: Digital Media and Contemporary Technogenesis

Pressman, Douglass, and Marino bring their considerable expertise to bear on William Poundstone's remarkable work of electronic literature, Project for Tachistoscope. The result is a richly informative demonstration of the ways the technical, poetical, graphical, and conceptual dimensions of such work calls for literary criticism that dialogues with new media practices. --Johanna Drucker, author, Graphesis: Visual Forms of Knowledge Production Reading Project is an inspired collaboration showing how different theoretical frameworks can collaborate productively and synergistically in analyzing a work of digital literature. The book's importance comes not only from the excellent insights it offers but, in a broader sense, as a contribution showing that traditional and digital humanities need not be antagonistic but can work together to understand much more deeply how digital literature works than any one approach could do alone. This should be required reading in every course on contemporary literature, whether print-based or digitally inclined. --N. Katherine Hayles, author, How We Think: Digital Media and Contemporary Technogenesis

Pressman, Douglass, and Marino bring their considerable expertise to bear on William Poundstone's remarkable work of electronic literature, Project for Tachistoscope. The result is a richly informative demonstration of the ways the technical, poetical, graphical, and conceptual dimensions of such work calls for literary criticism that dialogues with new media practices. --Johanna Drucker, author, Graphesis: Visual Forms of Knowledge Production

Pressman, Douglass, and Marino bring their considerable expertise to bear on William Poundstone s remarkable work of electronic literature, Project for Tachistoscope. The result is a richly informative demonstration of the ways the technical, poetical, graphical, and conceptual dimensions of such work calls for literary criticism that dialogues with new media practices. Johanna Drucker, author, Graphesis: Visual Forms of Knowledge Production

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Jessica Pressman is the author of Digital Modernism: Making it New in New Media and co-editor, with N. Katherine Hayles, ofComparative Textual Media: Transforming the Humanities in the Postprint Era. She is the associate editor of American fiction for Contemporary Literature, articles editor for Digital Humanities Quarterly, a board member of the Electronic Literature Organization, and a board member for the online journal of digital art, Dichtung-Digital. Mark C. Marino is an author and scholar of digital literature. His creative digital works include “Marginalia in the Library of Babel,” “a show of hands,” “Living Will,” and a collection of interactive children’s stories called “Mrs. Wobbles and the Tangerine House.” He is a co-author with Douglass (and 8 others) on 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. He teaches writing at the University of Southern California, USA where he directs the Humanities and Critical Code Studies Lab, a research group dedicated to humanities approaches to the exploration of computer source code. He is also the director of communication for the Electronic Literature Organization. Jeremy Douglass is an assistant professor of English at the University of California, Santa Barbara, USA, and is a researcher in games and playable media, electronic literature, and the art and science of data mining and information visualization. He is active in the software studies and critical code studies research communities, which study software society and the cultural meaning of computer source code. Douglass is a founding member of Playpower, a MacArthur/HASTAC-funded digital media and learning initiative to use ultra-affordable 8-bit game systems as a global education platform, and a participant in an NSF grant exploring creative user behavior in virtual worlds.

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