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The Role of Sound in Electronic Literature (23 Mar 2006)
If you think about it, literature - as invented by modern culture, born from writing and the printing press - has been a silent art form. When our grandparents sat down to read a short story, they did not expect the text to begin talking to them, much less to hear music playing, or experience sounds. But literature found online and in other computer-mediated contexts can be as much about the sonic experience as it is about the verbal.

Much research in film and video studies, as well as in game studies, has focused on sound, particularly music. But to be honest, little effort has concentrated primarily on sound and works of electronic literature. If you consider that audio has been used in electronic literature for well over 20 years (or possibly longer if we count the 1960 reading of the computer-generated permutation poem, I AM THAT I AM, by Byron Gysin and Ian Sommerville or art like Lorna (1979-1984) by Lynn Hershman or The Erl King (1982-1985) by Grahame Weinbren and Roberta Friedman), then it is time to begin talking it.
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