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But instead of an explanation, media studies has a counter-description or counter-narrative. Educators call this reverse tale full "literacy" and postindustrial businesses call it "knowledge work," both of which concepts require users not just to render notation into presentation but the exact reverse: While grade-school literacy means learning to read fluently, therefore, advanced literacy means learning to read analytically by mentally annotating, or otherwise reverse-engineering, presentation. The same applies mutatis mutandis to electronic and digital media. The Institute for Multimedia Literacy at the University of Southern California, for example, takes as its mission expanding "the notion of literacy to include learning how to author and analyze visual, aural, dynamic, and interactive media.

A Companion to Digital Literary Studies

While the "narrative" trope has thus far served us well, the very direction — or, rather, multiple directions — in which I have taken it mean that we Feee now need to expand upon the concept. I led off by suggesting that "there are grsfton and less capable imaginations of the new media encounter moment. For, if my propositions are correct, then it follows that the best stories of new media encounter — emergent from messy, reversible entanglements with history, socio-politics, and subjectivity — do not go from beginning to end, and so are not really stories at all. To recur to the "media ecology" trope cited earlier, good narratives of new media encounter are in the end less stories than whole imaginative environments or, as I termed them, borderlands of surmise.

Good accounts of new media encounter imagine mma and configurations of Free casual sex in grafton ma 1519. We don't want a good story of new media with a punch line giving somebody the last word. We want a good world of mz media that gives everyone ni least one first word as in "folksonomical" graftno systems. We want a way of imagining our encounter with new media that surprises us out of the "us" we thought we knew. Its goal is to tell a good story of new media encounter that has the maturity of caasual good world of messy, reversible, and imaginative possibilities. To do so, the caasual has really just one trick to Free casual sex in grafton ma 1519 — but what a powerful Coyote or Crow trick it is.

The trick is to play the "old" and "new," "codex" and "digital," and "literary" and "informational" off each other in zex that thwart any facile modernization narrative and foster surprising recognitions about the scholarly and cultural potential of new media. The Companion therefore starts off with a section on "Traditions" before it proceeds Ffee sections on "Textualities" and "Methodologies. Literary studies and computing bump up against each other in a common genealogy of mediated experience — bookish, online, or otherwise — that shuttles uncannily between old and new. In the first section of the volume, for example, Matthew Steggle discusses not just digital scholarship in Renaissance and seventeenth-century literary studies methods that extend the uniquely information-intensive activities of print and microfilm-based cataloguing, bibliography-making, textual scholarship, and so on that had attended this field through much of the twentieth century but also the emergence of a new "Renaissance information" approach that sees the early modern era as itself a precursor information revolution the time of The Renaissance Computer, as the title of one precedent-setting volume of essays he cites would have it.

John Walsh similarly frames digital scholarship in the Romantic and Victorian fields within the hypothesis of a special, elective affinity between the industrial nineteenth century and postindustrial contemporaneity. Not only did both periods witness rapid social, economic, political, and cultural upheaval, but both required "ever more sophisticated and flexible technologies for representing and managing … information" to drive and witness such change. Far from being an inert material or formal construct that "is," the codex was always a "program" that "does" and "works"; and it is such functional dynamism that new electronic reading environments should take as their baseline for extending, augmenting, and varying the history of the book.

The book is the parent of the program. The payoff from refusing to foreclose the negotiation between the old and new is that the volume throughout provides plenty of surmise about the possibilities that emerge from the encounter zone. The essay by Gregory Crane et al. Stephen Ramsay envisions a new mode of "algorithmic criticism" able to convene computational techniques and literary works not just to enumerate properties in a scientific way but to be a "methodological project of inventio," a way of defamiliarizing works and corpuses, unfolding new "interpretive possibilities," and furthering the "radical transformation" necessary to any truly critical reading. Keeping to the key of surmise, he concludes, "It is not that such matters as redemptive world views and Marxist readings of texts can be arrived at algorithmically, but simply that algorithmic transformation can provide the alternative visions that give rise to such readings.

Inspired by such surmise, many other essays in this volume offer look-over-the-hill scouting reports about specific new computational algorithms, protocols, forms, and principles. On the side closer to computation as such algorithms, protocolsessays by Marc Bragdon et al. Guertin focuses on the "postnarrative" narratives that have arisen from such hypertext and other digital forms. In the same narrative vein, Nick Montfort studies the genre of interactive fiction, and Marie-Laure Ryan scales up the concept of digital fiction to "world building. Saltz considers the new use of digital technology in performance. And then there are the new, born-digital genres: And to close on the side closer to what I above called "principles": John Lavagnino, for instance, discusses the complex relation between the orders of the "digital" and "analog"; while Noah Wardrip-Fruin looks closely at James Meehan's story-generation program, Tale-Spin, to theorize expansively about the "interplay" between a digital work's "surface, data, and process" that at last expresses its undergirding "logic of operations" and so its overall world view, ethos, or meaning in this case, a world view of "planning" that exceeds the status of computational method per se.

Digital literature, Wardrip-Fruin argues, is "expressive processing. It is the imaginative surmise that all people today who both love literature and practice new media or vice versa attempt. Here we at last come to the most specific mission of this volume, which is not to explore the general encounter with digital new media but, in particular, the encounter of literary studies with digital new media. How can literature be digital? And how can the digital the home territory, after all, of office files, databases, and spreadsheets as well as mass entertainment special effects be literary? Does literature really have a future in a new media ecology where the fiercest, deepest, and most meaningful identity tales of our young people seem to be beholden to iPods and other I-media of music, video, chat, and blogs?

These questions also have no easy answer. I wrote a whole book recently that started out by aiming for an answer, only to be diverted into studying the proto-aesthetic of information "cool" from which, I hypothesized, any understanding of information answerable to my old love, literature, must eventually come. In lieu of an answer, let me here conclude simply by being clear about the immense stakes involved in the mission of the present Free casual sex in grafton ma 1519, which, as I suggested, is not just to narrate but to prepare to imagine. Let me tell an open-ended story. Once upon a time, "literature" in the general sense of "letters" was the darling of the great new medium of its time, writing, which — like any medium — organized and served as the interface between new technological, communicational, and computational protocols.

Technologically, the protocol was the print codex and related forms previously, the manuscript. Communicationally, it was rhetoric adapted to new graphic layouts. And computationally, it consisted of new logical processing apparatuses such as tables of contents, chapter or section titles, indexes, and so on that ramified classically mnemonic, Free casual sex in grafton ma 1519, and rhetorical routines e. By the time "literature" was honed into its narrower, modern sense of aesthetic discourse, it was the operator of an advanced technological, communicational, and computational medium that was rapidly being extended via lithography, photography, and other means into a fully modern media mix.

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