Research

 

My research centers on the material and formal relations between contemporary literature and media technology. In my work, I am often drawn to texts and objects that foreground some sort of formal or material extremity—encyclopedism, mass replication and transcription, surplus and excess, error, and deletion. Taking these extremities as points of entry into the aesthetic and philosophical stakes of writing and technology, I work to trace a complex theory and history of textual production across various media in the twentieth- and twenty-first centuries.

My current project, Archival Fictions: Materiality, Form, and Media History in Contemporary Literature, traces a speculative history of media technology by reading the practice of formal experimentation in contemporary literary writing. In Archival Fictions, I argue that a materially inflected attention to literary form offers critical purchase on how we understand the stakes of modern and contemporary media history. Using interpretive approaches from film studies, media archaeology, and the digital humanities to approach questions of form across a series of twentieth- and twenty-first-century novels, poetic sequences, and digital texts, I show how literary authors who engage technology through form self-consciously imagine a new role for print literature in the contemporary moment. Through this approach, I read literary works by authors ranging from Andy Warhol and Don DeLillo to the electronic literature collective Young-hae Chang Heavy Industries through the lens of recent work in media theory, but moreover offer the literary itself as a model for media-theoretical thinking, demonstrating how literary experimentation with form and materiality provides a point of departure for tracing a history of media technology defined by nonlinearity, discontinuity, ephemerality, and uneven development. Ultimately, Archival Fictions argues for a reconsideration of print literary inscription within the multiple technological contexts of the modern and contemporary moments, and in doing so demonstrates how the literary might write new narratives of media history.

 

 

 

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