In this review, Manuel Portela considers Matthew G. Kirschenbaum's Track Changes in light of a "general computerization of the modes of production of writing."

Jen Phillis situates Jessica Pressman's Digital Modernism: Making It New in New Media as a rejoinder to "Neoliberal Tools (and Archives)" by David Allington, Sarah Brouillete, and David Golumbia.

Lisa Swanstrom interviews Matt Kenyon, founding member of S.W.A.M.P. (Studies of Work Atmosphere and Mass Production, co-founded with Doug Easterly), an Associate Professor of Art in the Stamps School of Art and Design at the University of Michigan, and a 2015 TED Fellow.

Katherine Hayles, Hyper and Deep Attention: http://www.jstor.org/stable/25595866?seq=1&cid=pdf-reference#references_tab_contents

In his review of Martin Paul Eve’s Pynchon and Philosophy: Wittgenstein, Foucault and Adorno, Julius Greve situates this new book on Pynchon within the upheavals produced by speculative realism and contemporary discourses on materialism. In doing so, Greve reminds us of what was always already the case: the literary-philosophical relevance of Pynchon, which turns out to be all the more inescapable in contemporary political climates.

In this review of Timothy Morton's Hyperobjects, Robert Seguin contemplates the implication of the text's eponymous subject on art, philosophy, and politics. The "hyperobject," a hypothetical agglomeration of networked interactions with the potential to produce inescapable shifts in the very conditions of existence, emerges as the key consideration for the being in the present.

Originally publication: The Schofield, Issue 1.1 - David Markson & Solitude - Summer 2015 (page 13). Reprinted with permission.

In this analytical, unabashedly philosophical engagement with Alex Galloway's "sneakily-titled" Laruelle Against the Digital, Martin Eve sides with the skeptics for whom "Laruelle proves a better diagnostician of epistemic illness than he is prescriber of a cure."

McKenzie Wark explores the work of Masha Tupitsyn as a pathway into the conditions of life in the 21st Century, somewhere above (or below) the framework of mediated experience, even beyond the limits of what we often call "theory." With Tupitsyn, Wark troubles the current stasis of representation that stultifies thought in this age of unrepentantly industrialized culture, not by turning us away from the spectacle, but by smashing right through it, picking up its pieces, and discovering new things in the wreckage.

Steve Tomasula discusses the development and context of his work (and TOC in particular), including relations to print and electronic literature, in this interview with Kiki Benzon.

By working through the resemblances between Tomasula's Vas: An Opera in Flatland (2004) and Edward Abbott's much earlier Flatland (1884), Pham-Thanh establishes how Tomasula "orchestrates the downfall of the traditional hegemonic masculinity" that defined Abbott's time.

In this riposte to Herbrechter, John Bruni suggests that the pivot from humanism to posthumanism is not without peril. Thus, Bruni enjoins readers, even as the posthuman discourse incorporates them into its post-anthropocentric milieu, to “watch the critters” as the machine of capitalism trudges ever onward.

The authors discuss their effort to raise critical awareness about microaggressive racist behavior with Mimesis, an interactive game set in an underwater environment where players become sea creatures, and where they feel the social force of microaggression regardless of the their race or ethnicity.

At the Frankfurt Book Fair, Ed Finn and his team attempted to "write, edit, and publish a book in three days." In this essay, Finn explains the process, outcomes, and future considerations of that collaborative experiment in writing, reading, and publishing in parallel and as performance, in the same room at the same time, as he attempts to answer the question, "What is the future of publishing?"

Vanwesenbeeck situates Mark Taylor’s recent Rewiring the Real, within a growing body of critical literature (which also includes John McClure’s Partial Faiths and Amy Hungerford’s Postmodern Belief) that regards religion as key to a robust account of postmodern culture—and for Taylor, in particular, as key to appreciating the novels of William Gaddis, Richard Powers, Mark Danielewski, and Don DeLillo

Crossing the tools of fluid dynamics with those of literary criticism, Gwen Le Cor casts a new light on contemporary writing in new media. Unlike first generation, "classical" hypertexts that were non-linear in the sense of using linked textual elements, Le Cor sees Strickland and Lawson Jaramillo's poem, slippingglimpse, as a more "contemporary" instance of nonlinear writing that can be viewed (literally) as a "complex, nonlinear turbulent system."

In “…without shame or concern for etymology,” Hanjo Berressem discusses Pynchon's Bleeding Edge in the context of post-9/11 fiction. In contrast to narratives of post-traumatic melancholy, Berressem argues that Bleeding Edge is a “Jeremiad about the fall and the sins of America.” The result is an essay that makes a powerful case for Pynchon as a prophetic, if brutal, witness to American society turning towards security and control in the shadow of tragedy.

In PAIN.TXT, Alan Sondheim and Sandy Baldwin explore the limitations of expression at the borders of human sensation. Derived from a dialog between Sondheim and Baldwin on extreme pain, this essay considers how one signifies intensity and another attempts to interpret that intensity, and the challenges this process poses for affect, imagination, and ultimately intersubjectivity. In keeping with the content of this piece, the two preserve the dialog format, recreating for readers a discourse on p...