writing on
certain of my works
(by author)

Andersen, Christian Ulrik, and Søren Bro Pold. The Metainterface: The Art of Platforms, Cities, and Clouds. Cambridge: MIT Press, 2018. Discusses The Readers Project pp. 61-64, and How It Is in Common Tongues pp. 64-69.

Baetens, Jan. ‘Review of Grammalepsy: Essays on Digital Language Art and Electronic Literature.’ Leonardo Reviews (April 2019) https://www.leonardo.info/review/2019/04/review-of-grammalepsy-essays-on-digital-language-art-and-electronic-literature (accessed March 30, 2019).

Bynham, Mike, and Tong-King Lee. ‘Translanguaging in Cyberpoetics.’ Chap. 7 In Translation and Translanguaging. London: Routledge, 2019, pp. 123-150. This chapter, by Tong-King Lee, is more or less entirely about my work, and provides excellent close readings, integrated with the books theoretical concerns, of translation (2004- ) and certain of my 'microcollage translations' from Chinese. Recommended.

Edmond, Jacob. ‘Diffracted Waves and World Literature.’ Parallax 20, no. 3 (2014): 245-257 http://dx.doi.org/10.1080/13534645.2014.927632 (accessed July 17, 2018). Discusses the early hypertext version that I created for Yang Lian's 'Where the Sea Stands Still'.

Edmond, Jacob. ‘The Elephant in the Room.’ Orbis Litterarum 73, no. 4 (2018): 311-327 https://onlinelibrary.wiley.com/doi/abs/10.1111/oli.12182 (accessed May 16, 2018). Discusses, chiefly, my early work Golden Lion: Indra's Net IV.

Edmond, Jacob. ‘Making Waves in World Literature,’ chapter 3 in Jacob Edmond's 2019 book: Make It the Same: Poetry in the Age of Global Media, pp. 91-115 (New York: Columbia University Press) contains what must be his definitive discussion of my hypertext collaboration with Yang Lian 'Where the Sea Stands Still,' set into his over-arching argument that complicates certain "world literature" accounts of (post)modernism. Edmond also provides fine analyses of some of my earliest work with digital language art, in wine flying, and of Poundian poetic influences on my own work, Yang Lian's, and our collaboration.

Edmond, Jacob. ‘Modernist Waves: Yang Lian, John Cayley, and the Location of Global Modernism in the Digital Age.’ Chap. 12 in Chinese Poetic Modernism. Sinica Leidensia, 283-303. Leiden: Brill, 2019. Earlier discussion of the early hypertext version that I created for Yang Lian's 'Where the Sea Stands Still'.

ELMCIP Knowledge Base. ELMCIP stands for 'Electronic Literature as a Model of Creativity and Innovation in Practice,' a major European-funded research network that produced the field's most useful knowledge. Records in the knowledge based are well linked with relationships encoded. Articles for:
  •  John Cayley, and
  •  The Readers Project
will branch outward to many other articles with documentation of my work.

Emerson, Lori. Reading Writing Interfaces : From the Digital to the Bookbound. Minneapolis: University of Minnesota Press, 2014, pp. 183-84. Discusses an outcome from The Readers Project: "John Cayley and Daniel C. Howe's How It Is in Common Tongues is intensely concerned with drawing attention to the profound influence of Google's search engine and how it works on readingwriting practices. ... a disruptive response to the computing industry's insistent drive to create devices that are nearly invisible."

Engberg, Maria. 'Morphing Into New Modes of Writing: John Cayley's riverIsland.' Leonardo Electronic Almanac, 'New Media Poetry and Poetics' Special Issue, Vol 14, No. 5-6 (2006). [http://leoalmanac.org/journal/vol_14/lea_v14_n05-06/mengberg.asp].

_____. 'Stepping into the River: Experiencing John Cayley's riverIsland.' dichtung-digital 35 (2/2005) [http://www.dichtung-digital.de/2005/2/Engberg/index.htm].

Ensslin, Astrid. ‘Riposte to Grammalepsy: An Introduction.’ Electronic Book Review (April 11 2018) https://electronicbookreview.com/essay/riposte-to-grammalepsy-an-introduction/ (accessed March 31, 2019).

Funkhouser, Chris. 'Irregular Solid: John Cayley's Cybertextually Engineered Digital Poetry - an essay.' Enter Text 5.3 (Winter 2005-2006) [for the issues table of contents: http://arts.brunel.ac.uk/gate/entertext/issue_5_3.htm; to download the document: http://arts.brunel.ac.uk/gate/entertext/5_3/ET53FunkhouserEd.doc].

Hansen, Mark. Digital Textuality. Conference on New Media, Technology and the Humanities 17-18 February, 2006. University of California, Irvine, School of Humanities, Humanitech. [http://www.humanities.uci.edu/humanitech/newmediaconference/FriPM8.mp3].

Hayles, N. Katherine. 'The Time of Digital Poetry: From Object to Event,' in Morris, Adalaide, and Thomas Swiss, eds. New Media Poetics: Contexts, Technotexts, and Theories. Cambridge: MIT Press, 2006, pp. 181-210. Discusses riverisland.

Johnston, David Jhave. Aesthetic Animism: Digital Poetry’s Ontological Implications. Cambridge: MIT Press, 2016, pp. 111-12. "The Readers Project reflects the urgent necessity for creative authors to write the autonomous writers who will read for us. It does so formally and numinously, words drifting and vanishing in modernist cascade ..."

Marques da Silva, Ana. ‘Speaking to Listening Machines: Literary Experiments with Aural Interfaces.’ Electronic Book Review (May 16 2017) https://electronicbookreview.com/essay/speaking-to-listening-machines-literary-experiments-with-aural-interfaces/ (accessed March 30, 2019). Discusses The Listeners.

Maibaum, Johannes. The Speaking Clock: John Cayley, HyperCard Program, 1995, Medien Theorien, 2016. Video documentation, 17:09 min; silent Youtube screencast with commentary. https://www.youtube.com/watch?v=GY7NMsLGm94 (accessed August 22, 2019).

Pisarski, Mariusz. ‘Poetics in Action: Time and Code in the Poetry of John Cayley and the Poets of RozdzielczośĆ Chleba.’ Forum Poe­t­yki = Forum of Poetics Spring/Summer (2016): 6-19 (accessed July 13, 2018). "As a practitioner (a publisher and producer) of electronic literature, I have not encountered a more complex and radical work in recent years than the series of poetic programs prepared by John Cayley and Daniel C. Howe that constitute the cycle The Readers Project (2010–2016). Individual installments of this long-term project contain the whole gamut of complexity that code in its proper function brings to poetry and poetics: the programmable function of transforming a poem’s content, style, rhetoric, and context." (13)

Portela, Manuel. Scripting Reading Motions: The Codex and the Computer as Self-Reflexive Machines. Cambridge: MIT Press, 2013, pp. 343-47. Contains significant discussion of The Readers Project in particular: "Paths and patterns that highlight words and phrases within a preexisting text give viewers a representation of acts of reading as performative or deformative interventions that establish their cognitive and perceptual associations with the textual field. ... Because every machine reading is also a new instance of writing available for a human reader, the act of reading the machine reading becomes a model for the infinite iterability of writing as actualized by each reading act."

Raley, Rita. Trans_code. Conference on New Media, Technology and the Humanities 17-18 February, 2006. University of California, Irvine, School of Humanities, Humanitech. [http://www.humanities.uci.edu/humanitech/newmediaconference/FriPM9.mp3]. Also to be published in an edited book of essays.

Remediating the Social. Ed. Simon Biggs. Edinburgh: ELMCIP, 2012. Link to the spread representing the Common Tongues installation. Outcomes from The Readers Project were featured in this catalogue.

Rettberg, Scott. Electronic Literature. Cambridge and Medford: Polity Press, 2019. The are many mentions of my work and theoretical writing throughout this exemplary introduction to the field. In particular, windsound is discussed p. 136; with The Readers Project and especially How It Is in common tongues featured pp. 179-80. The Listeners is analyzed pp. 181-82: "[The Listeners] shapes an emergent narrative which varies every time it runs but always centers on the anxious relationship of the human to the device, the cognizing and interlocuting device, as for the first time significant relationships form between humans and robots listeners they have invited into their own homes."

Ricardo, Franciso J. The Engagement Aesthetic: experiencing new media art through critique. New York: Bloomsbury, 2013. See: pp. 176-81 of chapter 14 in the section of this book which considers 'Engagement as Post-Literary Mechanism' and discuses The Readers Project.

Schäfer, Jörgen. 'Netzliteratur.' Handbuch Medien Der Literatur. Eds. Natalie Binczek, Till Dembeck and Jörgen Schäfer. Berlin: De Gruyter, 2013. 481-501. Discusses The Readers Project.

Schäfer, Jörgen. ‘Passing the Calvino Test? Writing Machines and Literary Ghosts.’ In Digital Media and Textuality: From Creation to Archiving, edited by Daniela Côrtes Maduro. Bielefeld: Transcript, 2017, 23-44. Discusses The Readers Project.

Schäfer, Jörgen. ‘Rethinking Comparative Literature: Literary Studies in the Age of Electronic Media.’ In Littérature et Numérique: Quand, Comment, Pourquoi?, edited by Philippe Bootz and Hermès Salceda. Paris: Presses Universitaires du Nouveau Monde, 2014, 131-150. Discusses The Readers Project.

Stewart, Garrett. ‘From Codex to Codecs.’ In Book Presence in a Digital Age, edited by Kiene Brillenburg Wurth, Kári Driscoll and Jessica Pressman, 44-59. New York: Bloomsbury Academic, 2018. Briefly discusses my installation The Reading Room, q.v.