The Convergence of Digital Literature and Net Art: Networked Creation

THE CONVERGENCE OF DIGITAL LITERATURE AND NET ART: NETWORKED CREATION, DISTRIBUTION, AND OPERATION BY KYLE JON BICKOFF B.A. UNIVERSITY OF FLORIDA, 2011 SUMMA CUM LAUDE A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF COLORADO IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH 2014 This thesis entitled: The Convergence of Digital Literature and Net Art: Networked Creation, Distribution, and Operation written by Kyle Jon Bickoff has been approved for the Department of English Professor Lori Emerson Professor Mark Amerika Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Page iii Bickoff, Kyle Jon (M.A English) The Convergence of Digital Literature and Net Art: Networked Creation, Distribution, and Operation Thesis directed by Assistant Professor Lori Emerson This thesis draws upon established network theory in order to understand digital literature and net art through their creation, distribution, and operation on the network. Although the advent of the web is often considered the defining point of transformation in both genres, the thesis indicates that the network language at the foundation of these genres existed notably earlier than has previously been indicated—before the advent of the web. These two genres (digital literature and net art) are described as convergent forms, merging with each other around networked language—the author takes a digital media studies approach to engage with the investigation. The thesis identifies multiple instances of networked language in textually rich pre-web works of literature and art to indicate that this genre convergence precedes current assessments regarding network influenced creation, distribution, and operation of these works. The thesis critically engages most closely with theorists Latour, Hardt, Negri, Castells, Foucault, Deleuze, Kittler, Galloway, Manovich, and Kirschenbaum to defend its assertions. Page iv CONTENTS CHAPTER INTRODUCTION …………………………………………………………………………1 I. Theory and Methodology: Digital Forensics Approach to the Network…..4 II. Parsing Network Theory…………………………………………………...6 III. Deciphering Early Internet Network Tendencies………………………...14 IV. Assembling Evidence of Network Influence in Late Web Works………...25 V. Compiling Data to Understand the Future of Digital Works and Decrypting Formal Convergence to Anticipate a Shared Postinternet Aesthetic…………….33 VI. On Text, Forensics, and Networks……………………………………….40 VII. Control in Networks/Control in Network Societies………………………44 VIII. Foucault: A Defense of the Archive and an Archaeology of Knowledge..52 IX. Conclusion or ‘Force Quit System Process’……………………………..58 Bickoff 1 of 64 Introduction In this thesis, I draw upon the work of Bruno Latour, Manuel Castells, Winfried Nöth, Michael Hardt, Antonio Negri, and their work on network theory in order to frame a certain strain of digital literature and net art which uses networks in their creation, distribution, and operation. The electronic networks enabling the present and continual production of these forms in an information society prompt the current convergence of form between digital literature and net art. 1 Although the rise of the network appears to indicate the transformation of these forms, I evidence that in fact, influence of the network, network language, and network communication is indicated notably earlier than previously marked—and indeed existed before the advent of the Net. I argue that a new theoretical framework is required in order to understand the shifting, convergent, space between digital literature and net art. Scholars, including Katherine Hayles, David Ross, and Lawrence Rinder help us to better understand the common elements of these two forms as we look chronologically backwards to see the shift of form. Moreover, the apparent convergence of the forms becomes visible through a historical approach, a precise digital forensic application to study these forms, and an understanding of the networks that create, distribute, and allow these forms to operate. When I discuss convergence, I refer to the convergence of form in relation to the network. It is this network convergence that I indicate occurs far earlier than previously noted. Indeed this convergence around the network occurs before the advent of the web, internet, or widely distributed network communication systems. I can therefore observe the distinct formal shift in contemporary digital literature and art works by 1 Manuel Castells, The Rise of the Network Society (Malden: Blackwell, 2000), 21. Bickoff 2 of 64 engaging in studies of networked authorship, digital publication, and finally electronic distribution. Further, I argue that through these practices, the convergence of these forms and network-influenced characteristics, can be observed in works preceding the advent of the WWW. I indicate that the precursors to early digital literature and net art works contain these network influenced elements. Even though a shift occurs in the publication of these works, works predating the web and works produced after the advent of the web are all constructed by a language that is structured around a communicative network society. Though the advent of the early internet is claimed to be the shifting point from whence these works were inspired, I argue this shift occurs much early than previously observed. What is the meaning of a network in the information age? What makes a work digital literature? What makes a work net art? And what is the origin of this (apparent) division of these two media that this thesis revolves around? These questions, among many more, I will attempt to answer. My inquisition originates from interests that evolved to critical insights on: the function of networks, distributed control in a network society, centralized control from above, and the network’s role in creation and distribution of textually rich media. In proceeding with a critical investigation of these theoretical approaches, I sought to categorize my own knowledge in relation to existing criticism. Regarding networks and the network society, I have housed my approach with Latour, Hardt, Negri, Nöth, and Castells. Regarding classifications of control and organization I have consulted Michel Foucault and Gilles Deleuze; for forensic approaches to technology I use Friedrich Kittler, Alexander Galloway, Wolfgang Ernst, Jussi Parikka, Lev Manovich, Eugene Thacker and Matthew Kirschenbaum. I reach my points after much deliberation, and always armed with skepticism— even regarding my own research. But the words I have written I will defend. Bickoff 3 of 64 Although my interests may derive from a technical origin, I seek to manifest them through my observations of the media around me—notably, I was privileged to work with much of the digital literature that I reference in its original format, on legacy computing systems at the University of Colorado Boulder’s Media Archaeology Lab.2 Moreover, I was privileged to write a large portion of this thesis within the walls of the Media Archaeology Lab—the writer was able to sit surrounded by hundreds of linear feet of materials, between stacks of hardware piled to the ceiling, encircled by 9”, 5.25”, 3.5” floppy disks, magnetic tapes, and a multiplicity of Cathode Ray Tube monitors. From this mode of thought, emerging buried beneath the byproducts of a society that discards earlier resources, forgets past media, and ignores the importance of studying new media in relation to the old, my work derives it critical motives. 2 The Media Archaeology Lab, at the University of Colorado Boulder is the largest facility of its kind in North America—it is a place to experiment with old technology in relation to the new, and study electronic literature on the original legacy computing devices. http://mediaarchaeologylab.com/ Bickoff 4 of 64 I. Theory and Methodology: Digital Forensics Approach to the Network Let me first define the term digital literature—Hayles writes that it is “generally considered to exclude print literature that has been digitized, [it] is by contrast 'digital born,' and (usually) meant to be read on a computer.”3 I will emphasize that it is not always born-digital, but in fact always inspired by the digital in some sense. I should also define my use of the term net art, which I derive from an early description by David Ross in his lecture, 21 Distinctive Qualities of Net.Art: “Net.art is purely ephemeral. The opposite of the epic quality of net.art is its pure ephemerality. There’s no trace. It can have poetic brevity, that brief life in the collective consciousness.”4 Net art, like digital literature, is often born-digital content and relies upon the medium of the internet, as well as the tools of the space for its creation, distribution, and operation.5 The net art works I choose to study contain significant textual elements, and accordingly, I take a literary approach to understanding these creations. Digital forensic tools become valuable for investigating and understanding the media, particularly when examining the formal elements of digital literature and net art works. The necessity of forensic methods is indicated by Matthew Kirschenbaum when he describes how “The forensic materiality of new media is…demonstrated by the bits and data tracks visible;” if we cannot investigate the data 3 N. Katherine Hayles, “Electronic

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