Breng mij die horizon! Filosofische reisverhalen

Breng mij die horizon! Filosofische reisverhalen

Jos de Mul. Breng me die horizon! Filosofische reisverhalen. Amsterdam: Boom, 2019.  Breng mij die horizon! laat zien wat er gebeurt…

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De domesticatie van het noodlot. De wedergeboorte van de tragedie uit de geest van de technologie

De domesticatie van het noodlot. De wedergeboorte van de tragedie uit de geest van de technologie

Jos de Mul. De domesticatie van het noodlot. De wedergeboorte van de tragedie uit de geest van de technologie. Rotterdam: Lemniscaat,…

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Destiny Domesticated. The Rebirth of Tragedy Out of the Spirit of Technology

Destiny Domesticated. The Rebirth of Tragedy Out of the Spirit of Technology

Jos de Mul. Destiny Domesticated. The Rebirth of Tragedy Out of the Spirit of Technology. State University of New York (SUNY)…

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命运的驯化——悲剧重生于技术精神 内容简介 (Chinese translation of Destiny Domesticated\)

命运的驯化——悲剧重生于技术精神 内容简介 (Chinese translation of Destiny Domesticated\)

Jos de Mul. 命运的驯化——悲剧重生于技术精神 内容简介 (Chinese translation of Destiny Domesticated. The Rebirth of Tragedy Out of the Spirit of Technology). Guilin:…

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Romantic Desire in (Post)Modern Art and Philosophy

Romantic Desire in (Post)Modern Art and Philosophy

Jos de Mul. Romantic Desire in (Post)Modern Art and Philosophy. Albany: State University of New York Press, 1999, 316 p.…

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Het romantische verlangen in (post)moderne kunst en filosofie

Het romantische verlangen in (post)moderne kunst en filosofie

Jos de Mul. Het romantische verlangen in (post)moderne kunst en filosofie. Uitgeverij Klement, 2007 (4de druk), 284 p. 1de druk, 1990; 2de druk, 1991; 3de…

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后)现代艺术与哲学中的浪漫之欲。Chinese translation of Romantic Desire in (Post)Modern Art and Philosophy

后)现代艺术与哲学中的浪漫之欲。Chinese translation of Romantic Desire in (Post)Modern Art and Philosophy

Jos de Mul. 后)现代艺术与哲学中的浪漫之欲。Chinese translation of Romantic Desire in (Post)Modern Art and Philosophy. Wuhan: Wuhan University Press, 2010, 306p. ISBN 978-7-307-08019-5RMB…

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Cyberspace Odyssee

Cyberspace Odyssee

Jos de Mul. Cyberspace Odyssee. Kampen: Klement, 6de druk: 2010, 352 p. 1de druk, 2002; 2de druk, 2003; 3de druk,2004;…

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Cyberspace Odyssey. Towards a Virtual Ontology and Anthropology

Cyberspace Odyssey. Towards a Virtual Ontology and Anthropology

Jos de Mul. Cyberspace Odyssey. Towards a Virtual Ontology and Anthropology. Castle upon Tyne: Cambridge Scholars Publishing, 2010, 334 p. Translation of Cyberspace…

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Siberuzayda macera dolu bir yolculuk. Sanal bir ontoloji ve antropolojiye doğru

Siberuzayda macera dolu bir yolculuk. Sanal bir ontoloji ve antropolojiye doğru

Jos de Mul. Siberuzayda macera dolu bir yolculuk. Sanal bir ontoloji ve antropolojiye doğru. Istanbul: Kitap Yayinevi, 2008, 400 p. Turkish…

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The sovereign debt crisis or Sophie’s choice. On European tragedies, guilt and responsibility

The sovereign debt crisis or Sophie’s choice. On European tragedies, guilt and responsibility

Liesbeth Noordegraaf-Eelens and Jos de Mul, The sovereign debt crisis or Sophie’s choice. On European tragedies, guilt and responsibility. Heinrich…

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Paniek in de Polder. Polytiek in tijden van populisme

Paniek in de Polder. Polytiek in tijden van populisme

Jos de Mul. Paniek in de Polder. Polytiek in tijden van populisme. Rotterdam: Lemniscaat, februari 2017. Uitgebreide en geactualiseerde editie…

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Horizons of Hermeneutics

Horizons of Hermeneutics

Jos de Mul. Horizons of Hermeneutics: Intercultural Hermeneutics in a Globalizing World.  Frontiers of Philosophy in China. Vol. 6, No.…

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The game of life

The game of life

Jos de Mul. The Game of Life: Narrative and Ludic Identity Formation in Computer Games.  In: Lori Way (ed.), Representations of…

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PedoBot® is niet boos, maar wel verdrietig (en soms opgewonden)

PedoBot® is niet boos, maar wel verdrietig (en soms opgewonden)

Jos de Mul. PedoBot® is niet boos, maar wel verdrietig (en soms opgewonden). Over intelligente robots, emoties en sociale interactie.…

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Kunstmatig van nature. Onderweg naar Homo sapiens 3.0

Kunstmatig van nature. Onderweg naar Homo sapiens 3.0

Jos de Mul, Kunstmatig van nature. Onderweg naar Homo sapiens 3.0.  Rotterdam: Lemiscaat: 2016. ISBN 978 90 477 0925 1…

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2017-11-25 (Trouw) Hoe ik bijna boeddhist werd

2017-11-25 (Trouw) Hoe ik bijna boeddhist werd

Jos de Mul. Hoe ik bijna boeddhist werd. Trouw. Bijlage Letter en Geest, 25 november 2017, 14-18. Het gastenverblijf van…

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The Tragedy of Finitude. Dilthey's Hermeneutics of Life

The Tragedy of Finitude. Dilthey's Hermeneutics of Life

Jos de Mul. The Tragedy of Finitude. Dilthey's Hermeneutics of Life. New Haven: Yale University Press, 2010 (second edition - eBook), 424…

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Wittgenstein 2.0. Philosophical reading and writing after the mediatic turn

Wittgenstein 2.0. Philosophical reading and writing after the mediatic turn

Jos de Mul. Wittgenstein 2.0: Philosophical reading and writing after the mediatic turn. In: A. Pichler & H. Hrachovec (eds.) Wittgenstein and…

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Plessner's Philosophical Anthropology. Perspectives and Prospects

Plessner's Philosophical Anthropology. Perspectives and Prospects

Jos de Mul. ( ed.), Plessner's Philosophical Anthropology. Perspectives and Prospects. Amsterdam/Chicago: Amsterdam University Press/Chicago University Press, 2014. Helmut Plessner (1892–1985)…

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2016-08-20 (Vrij Nederland) In Japan heeft Erica een ziel

2016-08-20 (Vrij Nederland) In Japan heeft Erica een ziel

Jos de Mul. In Japan heeft Erica een ziel. Vrij Nederland, 20 augustus 2016, 41-45. Kansai Science City doet op…

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Outside of a dog, a book is man's best friend. Inside of a dog it's too dark to read.

Outside of a dog, a book is man's best friend. Inside of a dog it's too dark to read.

Marxism according to Groucho     "Outside of a dog, a book is man's best friend. Inside of a dog…

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Noble versus Dawkins. DNA Is not the program of the concert of life.

Noble versus Dawkins. DNA Is not the program of the concert of life.

Jos de Mul. Noble versus Dawkins. DNA Is not the program of the concert of life. Translation of Dutch review, published…

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The game of life. Narrative and ludic identity formation in computer games

The game of life. Narrative and ludic identity formation in computer games

Jos de Mul. The game of life. Narrative and ludic identity formation in computer games. In: J. Goldstein and J. Raessens,Handbook…

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序言 约斯·德·穆尔 In: Zha Changping. World Relational Aesthetics. A History of Ideas in Pioneering Contemporary Chinese Art

序言 约斯·德·穆尔 In: Zha Changping. World Relational Aesthetics. A History of Ideas in Pioneering Contemporary Chinese Art

序言 约斯·德·穆尔. In: Zha Changping. World Relational Aesthetics. A History of Ideas in Pioneering Contemporary Chinese Art. Volume One. Shanghai:…

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The Work of Art in the Age of Digital Recombination

The Work of Art in the Age of Digital Recombination

Jos de Mul. The work of art in the age of digital recombination. In J. Raessens, M. Schäfer, M. v. d.…

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Doorzoek deze website:

Jos de Mul. Foreword: From the Mediatic Turn to Gua-le-ni. In: Stefano Gualeni. Virtual Worlds as Philosophical Tools. How to Philosophize With a Digital Hammer. London: Palgrave Macmillan 2015, x-xiii.

In the last couple of decades a new discipline, called ‘media philosophy’, has entered the philosophical arena. According to Reinhard Margreiter, one of its proponents, this name refers not only, and not even predominantly, to the exploration of yet another ontological domain, but rather designates a fundamental transformation  of  philosophy  itself,  which  is  characterized  by  a  turn towards (the descent and history of) the mediatic foundations of philosophy. In his view, media philosophy might become a contemporary ‘prima philosophia’ (Margreiter 2003, 151). However, Margreiter does not argue for a modernist kind of foundationalist superdiscipline, but rather for a critical discourse that has to accompany every act of knowing.

Though the name ‘media philosophy’ is a recent invention, the phenomenon is not altogether new. Already in Plato’s Phaedrus and Seventh Letter we find fundamental reflections on the impact of writing on philosophy, that is: on the type of oral philosophy that precedes written philosophy and which is still reflected in the dialogical form of Plato’s writings. However, in the tradition of Western philosophy, which is strongly connected with the book, this kind of reflection remains relatively scarce and marginal for a long time. Starting from Parmenides’ identification of being and thinking, a dominant part of the metaphysical tradition was based on the presupposition that thinking and being – nous and phusis – share the same form (eidos, morphé), guaranteeing the identity of what can be thought and what can be (cf. Allen 2004, 218).

Gepubliceerd in: Book chapters
donderdag, 01 februari 2018 12:57

Athens, or the Fate of Europe

Jos de Mul. Athens, or the Fate of Europe. Journal of Philosophical Research. Special supplement: Selected Papers from the XXIII World Congress of Philosophy. 2015: 221–227.

 

ABSTRACT: In his essay ‘The Idea of Europe’ George Steiner claims that European culture derives from “a primordial duality, the twofold inheritance of Athens and Jerusalem”. For Steiner, the relationship between Greek rationalism and Jewish religion, which is at once conflictual and syncretic, has engaged the entire history of European philosophy, morality, and politics. However, given this definition, at present the United States of America seem to be more European that ‘the old Europe’ itself. Against Steiner, it will be argued that in order to fathom the distinctive characteristic of European culture, we have to take a third European tradition into account, which is inextricably bound up with Athens: the tradition of Greek tragedy. If we may call Europe a tragic continent, it is not only because its history is characterised by an abundance of real political tragedies, but also because it embodies, as an idea and an ideal, a tragic awareness of the fragility of human life. Instead of reducing the ‘idea of Europe’ to a financial and economic issue, Europe should remain faithful to this idea and ideal.

 

First of all I like to thank the organizers for their invitation to join this symposium on Art and Cultures. As a tribute to the magnificent city of Athens and its inhabitants, I will talk about the relationship between European culture and the art form that is inextricably tied to the city of Athens: Greek tragedy. The thesis I will defend is that European culture distinguishes itself from other world cultures, and in particular from North-American culture, with which it shares both its Christian and its scientific worldview, by its deeply tragic character. This claim, I will argue, is neither a pessimistic nor an optimistic one, because tragedy is beyond this simple dichotomy. If I claim that Europe is a tragic continent, I refer both to its grandeur and pitfalls.

My talk consists of two parts. First, in a critical discussion with George Steiner, I will address the question of the identity of European culture. In the second part I will relate this identity to Greek tragedy.

Jos de Mul, Kunstmatig van nature. Onderweg naar Homo sapiens 3.0.  Rotterdam: Lemiscaat: 2016.

ISBN 978 90 477 0925 1

De 1ste druk (10.000 exemplaren) verscheen in 2014 als Essay van de Maand van de Filosofie en werd eveneens uitgegeven door Uitgeverij Lemniscaat.

In Kunstmatig van nature bespreekt Jos de Mul de betekenis van recente ontwikkelingen in de robotica, neurowetenschappen en biotechnologie voor ons zelfbegrip en dagelijks leven. Wat te denken van de Japanse humanoïde robot Miim, ontworpen door Kazuhito Yokoi, die kan dansen, zingen en kleding showen op de catwalk? Zullen dergelijke robots dankzij erotische programmatuur, net als in de sciencefiction-serie Real Humans, een commercieel succes worden? Of neem het experiment van de Amerikaanse neurowetenschapper Miguel Nicolelis die elektroden in de hersenen van een resusaapje heeft aangebracht om de neuronenactiviteit tijdens zijn bewegingen te registeren. De aldus verkregen informatie brengt via het internet elders in de wereld de robot CB-1 in beweging. Een kleine stap voor de robot, maar een gigantische sprong voor het aapje -- en mogelijk in de nabije toekomst ook voor dwarslaesiepatiënten.

Op biotechnologisch gebied heeft men alternatieven ontwikkeld voor het DNA, het ‘bouwplan’ van al het leven. Terwijl de evolutie ooit bestond uit natuurlijke selectie, betreden we met deze alien genetics het tijdperk van kunstmatige selectie. Mogen we hiermee planten, dieren en mensen ‘verbeteren’? Deze nieuwe technologieën vergroten niet alleen onze kennis van het leven op aarde -- ze zijn allang begonnen dat leven fundamenteel te transformeren. Wie we zijn en wat we willen worden, is meer dan ooit een open vraag, een opgave. Zijn wij, ‘de eeuwig toekomstigen’ volgens Nietzsche, onderweg naar Homo sapiens 3.0?

‘Worden wij de eerste soort op aarde die zijn eigen evolutionaire opvolger gaat scheppen?’ -- Jos de Mul

‘Grote eruditie en lucide kijk op veranderingen in de hedendaagse cultuur.’ -- Marc Van den Bossche over Cyberspace Odyssee in Standaard der Letteren

‘Gloedvol pleidooi voor een tragisch levensbesef.’ -- Arnold Heumakers over De domesticatie van het noodlot in nrc Handelsblad  

 'Ik wou dat ik als student zoiets had kunnen lezen' - Piet Hut (Institute for Advanced Study, Princeton) over Kunstmatig van nature

Gepubliceerd in: Books
maandag, 23 oktober 2017 14:22

Meeting OSCAR and Erica

Jos de Mul. Meeting OSCAR and Erica. On almost living bodies, new media aesthetics, and the East-West divide. In Aesthetics and Mass Culture. Proceedings of the 20th International Congress of Aesthetics. Seoul: Seoul National University, Invited Round Table. Seoul: Seoul National University, 2017,. 64-69.

Abstract In this paper OSCAR, the protagonist of the online science fiction project The Modular Body of Dutch media artist Floris Kaayk, meets Erica, an android robot, functioning as an autonomous conversation partner, and designed by the Japanese robotic engineer Hiroshi Ishiguro. It will be argued that these two cultural artifacts, despite striking similarities (both are advanced products of reductionist converging technologies, balancing between fiction and reality, and embedded in the mass medium environment of the Internet), from an ontological perspective they embody two different attitudes towards robots and artificial intelligences. Whereas The Modular Body is prototypical for the Christian Western worldview in which android robots are under taboo, the Asian love for android robots like Erica, which mimic human appearance and behavior as close as possible, is connected with the reflective anthropomorphism that characterizes Eastern religions like Buddhism and Shintoism.  Although we should be aware of a digital revival of orientalism (the more because in our globalizing world we increasingly exchange and share cultural forms, information and communication technologies being obvious examples), Westerners may learn something from Eastern robotics. Because of their religious traditions Asian people may be better prepared for the conceptualization and design of a society in which humans and artificial lifeforms harmoniously live together.  

Gepubliceerd in: Book chapters
Jos de Mul. The Earth Garden: Going Back or Going Forward to Nature? Frontiers of Philosophy in China. Vol.12 (2017) 2: 237-248.

Abstract Against the background of a short meditation on the contrasting ways in which landscape has been represented and idealized in Eastern and Western painting traditions, the article will try to show, using some striking examples, that the development of landscape painting in the last two centuries reflects the changing relationship of humanity and nature, leading in both the East and in the West to either the expression of a nostalgic longing for nature to be back as it once was, or to a gloomy expression of the vanishing of nature amidst the modern, technological world. Connecting to both the concept of “harmony,” which is a key concept in Eastern aesthetics, and to some recent reflections in Western philosophy on the relationship of nature and technology, a post-nostalgic conception of nature and natural beauty is defended, in which nature and technology are no longer seen as opposing categories, but rather as poles that are intertwined in an ever-lasting process of co-evolution. It is argued that we should not so much strive to go “back to nature,” but rather to go “forward to nature” and establish a new harmony between human and non-human nature and technology. The article ends with some reflections on the role artists and aestheticians may play in this transformation.

Keywords environmental pollution, environmental aesthetics, philosophy of nature, comparative aesthetics, philosophy of technology

Jos de Mul. Turkish Delight. In: Ayşen Savaş & Sevin Osmay (eds.), Jale Erzen Testimonial. Middle East  Technical University (METU) Press, 2017, 146-152.

Of all the times I met with Jale Erzen over the last couple of decades, our meeting in May 2002 was perhaps the most memorable. Jale had invited me to take part in the 6th International Symposium of SANART about Art and Social Engagement, held at the Middle East Technical University (METU). The Symposium took place shortly after 9/11, a time when many heated discussions were held in Turkey, just as in other countries, about the political Islam, the role of religion in society, and the separation of church and state, and in Ankara the tension was running high between the Kemalists and the politicians inspired by the Islam.  

Following the conference, I went on a short trip with Jale and about ten other philosophers, from five different continents, to the east of Turkey, which was planned by Jale. We flew to Diyarbakir and then travelled on by bus and later by jeep through the northern part of the virtual state of Kurdistan. It was a memorable trip because of several reasons. In the first place because of the awe-inspiring endless bleak mountains around us, in which the only humans living there seem to be goatherds herding their flocks in search of the last remnants of vegetation. It was difficult to imagine a bigger contrast with the polders in Zeeland where I grew up.  The impression the vast and rugged landscape made on me was intensified by the realisation that we were surrounded by thousands of years of history. This vast region situated 'between the rivers', the Euphrates and the Tigris, used to be called Mesopotamia in ancient times and was full of fig-, olive-, walnut- and pomegranate trees, vines and oleander bushes. According to tradition here was once the Biblical Garden of Eden.

Gepubliceerd in: Book chapters
Jos de Mul. Preface. In: Zha Changping. World Relational Aesthetics. A History of Ideas in Pioneering Contemporary Chinese Art. Volume One. Shanghai: Sanlian, 2017, xiv-xvi, xvii-xx.

In 2006, as part of a lecture tour through China, which brought me to cities as different as Urumqi and Shanghai, I also participated in a conference of the International Association of Aesthetics in Chengdu. It was on this occasion that I met Zha Changping for the first time. I was introduced to him by a common friend of us, the Shanghai-based historian Chen Xin. During my stay in Chengdu, Changping and I had several conversations, and I especially remember one hot evening in June, whenwe, together with museum sculptor Zhu Cheng and my wife Gerry, were sitting on a terrace near the Fu river, discussing the state of contemporary art, religion and politics in China and Europe, meanwhile enjoying the delicious Sichuan food and cool beers and watching the joyful play of the little children on the terrace. It was a wonderful evening, to which my memories often return.

Since that first meeting more than ten years have passed, in which Changping and I kept in touch. I followed his publications (unfortunately only being able to read the English ones, as I am not able to read Chinese) and was impressed by his productivity andthe broad scope of his publications, ranging from art criticism and art history – such as the very informative Up-On Chengdu, Somatic Aesthetics and Scene Connection (2013) - to studies in the logic of history, Japanese history, New Testament studies, and a series of translations. What moreover impressed me was his profound familiarity with Western art theories and the creative way he applied them within a Chinese context. Changping proved to be all-round humanities scholar with an inspiring intercultural approach.

Gepubliceerd in: Book chapters
zondag, 15 oktober 2017 17:12

Human nature after Neo-Darwinism

Jos de Mul. Human nature after Neo-Darwinism. in: Eidos .A Journal for Philosophy of Culture.Special issue: Is the Category of Human Nature Still Relevant? Vol 1 (2017), 1: 5-17. 

 

Abstract

In the course of the 20th century the so-called Modern Synthesis of Neo-Darwinism has become the dominant paradigm in modern biology. First, it is explained how and why Darwin’s broad definition of evolution, in which the environment plays an important role, was narrowed down by Neo-Darwinism to a radical gene-centric view.  Next, the paradigm shift taking place today in ‘postgenomic’ evolutionary biology and genetics is discussed. It is argued that this shift opens the way to a more humane conception of evolution, more in line with Darwin’s view. Finally, I will discuss some of the implications of this paradigm shift for human self-reflection, taking The Music of Life. Biology Beyond Genes of systems biologist Denis Noble as a starting point.


Keywords

Neo-Darwinism, Dennis Noble, gene-centrism, postgenomics, agency, human self-reflection

Jos de Mul. Ontzaglijke kunst. Over het natuurlijke en technologisch sublieme. Studium Generale Art, Nature & Technology.  AKV|St.Joost in Den Bosch, 30 september 2016.

English summary.

Every once in a while we experience something extraordinary. Such ‘awesome’ experiences might happen in our research, when we unexpectedly discover something really amazing, or when we come across a magnificent landscape, hear a piece of music that really moves us, or when we fall deeply in love. Traditionally these kinds of extraordinary experiences are called “sublime”. In the following I will present some reflections on one particular kind of sublimity: the technological sublime.

I will develop my  argument in three parts. First I will point out the meaning and history of the concept of the sublime. Next, I will argue that in de twentieth century, the sublime has transformed from a natural to a technological category. In the third and last part I will defend the thesis that in the age of biotechnologies the technological sublime becomes a natural category again, which leaves us with some uncanny questions.

Gepubliceerd in: Lectures
Jos de Mul. From Yijing to Hypermedia: Some Notes on Computer-mediated Literary Theory and Criticism. In: Peng Feng (ed.), Aesthetics and Contemporary Art. International Yearbook of Aesthetics. Volume 16. Beijing University: 2016, 114-125.

The development and global dissemination of computers - from the mainframe computers in the middle of the 20th century up to the smart phones that enable us to be online everywhere at any time - has an enormous impact on virtually every domain in human life, including art and literature. In the past decades, we have witnessed the emergence of different kinds of new media, that – among many other things – also have given birth to new art forms and genres, such as computer animations, hypertext, and interactive netart. All these new (that is: computer-mediated) media can be called “hypermedia”, because they share two fundamental characteristics: they are media that are both multimedial and non-linear.

In this contribution I will discuss the impact of hypermedia on literary theory and criticism. More particularly, the question I will focus on in my lecture is: how to write about hypermedia? In what ways do hypermedia affect literary theory and literary criticism. However, when writing about hypermedia, literature can only be a point of departure of our examination. After all, hypermedia are media that absorb and thereby re-mediate the other “old media”, literature included.[1] And this, as I will argue, also applies to literary theory and literary criticism, which at least partly is going to be transformed into hypermedial criticism.

Gepubliceerd in: Book chapters
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