1.1 From Digital Humanities to Speculative Computing - UCLA ...

Critical Art Ensemble, www.critical-art.net/ synthesize critical philosophy and digital
culture studies.
x Howard Besser, published works and online references:
http://besser.tsoa.nyu.edu/howard/#standards
xi For an overview of the field from varying perspectives, see: A Companion to Digital
Humanities, edited by Susan Schreibman, Ray Seimens, and John Unsworth (Malden and
Oxford: Blackwell’s Publishers, 2004).
xii The EText Center at University of Virginia is a useful example:
http://etext.virginia.edu/.
xiii Barbara Stafford, Good Looking,(Cambridge: MIT Press, 1996) is a striking
demonstration of the extent to which logo-centrism prevails in academic work. Her
arguments, from the point of view of artists, art historians, or practitioners of visual
knowledge production, seem so obvious as to be unnecessary, and yet, for textual
scholars, they posed a revelation that seemed to challenge basic assumptions, at least in
some quarters. See also Franco Moretti, “Graphs, Maps, and Trees,” No, 24, November-
December 2003, New Left Review first of three articles.
http://www.newleftreview.net/Issue24.asp?Article=05
xiv For discussions of Codework, start with the exchanges between Rita Raley and John
Cayley, www.electronicbookreview.com/ thread/electropoetics/codology, and discussions
on www.poemsthatgo.com/ideas.htm.
xv Michael Heim, Electric Language (New Haven: Yale University Press, 1987)
xvi George Landow, Hypertext (Johns Hopkins University Press, 1992) and J. David
Bolter, Writing Space (L. Erlbaum Associates, 1991).
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