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and the Authoritative Text’, in Patrik Svensson and David Theo Goldberg
(eds.), Between Humanities and the Digital (Cambridge, MA: MIT Press), pp.
83–94.
— (2014) ‘Distributed and Conditional Documents: Conceptualizing
Bibliographical Alterities’, MATLIT: Revista do Programa de Doutoramento em
Materialidades da Literatura 2.1, 11–29.
— (2013) ‘Performative Materiality and Theoretical Approaches to Interface’,
Digital Humanities Quarterly 7.1 [n.p.],
Ede, Lisa, and Andrea A. Lunsford (2001) ‘Collaboration and Concepts of
Authorship’, PMLA 116.2, 354–69.
Emerson, Lori (2008) ‘Materiality, Intentionality, and the Computer-Generated
Poem: Reading Walter Benn Michaels with Erin Moureacute’s Pillage Land’, ESC:
English Studies in Canada 34, 45–69.
— (2003) ‘Digital Poetry as Reflexive Embodiment’, in Markku Eskelinen, Raine
Koskimaa, Loss Pequeño Glazier and John Cayley (eds.), CyberText Yearbook
2002–2003, 88–106,
Foucault, Michel, ‘What Is an Author?’ (1998) in James D. Faubion (ed.),
Essential Works of Foucault, 1954–1984, Volume Two: Aesthetics, Method, and
Epistemology (New York: The New Press).
Gibson, Johanna (2007) Creating Selves: Intellectual Property and the
Narration of Culture (Aldershot, England and Burlington, VT: Routledge).
— Phillip Johnson and Gaetano Dimita (2015) The Business of Being an Author: A
Survey of Author’s Earnings and Contracts (London: Queen Mary University of
London), [https://orca.cf.ac.uk/72431/1/Final Report - For Web
Publication.pdf](https://orca.cf.ac.uk/72431/1/Final%20Report%20-%20For%20Web%20Publication.pdf)
Goldsmith, Kenneth (2011) Uncreative Writing: Managing Language in the Digital
Age (New York: Columbia University Press).
Hall, Gary (2010) ‘Radical Open Access in the Humanities’ (presented at the
Research Without Borders, Columbia University),
report.pdf](https://microsites.bournemouth.ac.uk/cippm/files/2007/07/ACLS-
Full-report.pdf)
Lessig, Lawrence (2008) Remix: Making Art and Commerce Thrive in the Hybrid
Economy (New York: Penguin Press).
Lovink, Geert, and Ned Rossiter (eds.) (2007) MyCreativity Reader: A Critique
of Creative Industries (Amsterdam: Institute of Network Cultures),
McGann, Jerome J. (1992) A Critique of Modern Textual Criticism
(Charlottesville, VA: University of Virginia Press).
McHardy, Julien (2014) ‘Why Books Matter: There Is Value in What Cannot Be
Evaluated.’, Impact of Social Sciences [n.p.],
Mol, Annemarie (2008) The Logic of Care: Health and the Problem of Patient
Choice, 1st ed. (London and New York: Routledge).
Montfort, Nick (2003) ‘The Coding and Execution of the Author’, in Markku
Eskelinen, Raine Kosimaa, Loss Pequeño Glazier and John Cayley (eds.),
CyberText Yearbook 2002–2003, 2003, 201–17,
Moore, Samuel A. (2017) ‘A Genealogy of Open Access: Negotiations between
Openness and Access to Research’, Revue Française des Sciences de
l’information et de la Communication 11,
Munster, Anna (2016) ‘Techno-Animalities — the Case of the Monkey Selfie’
(presented at the Goldsmiths University, London),
Navas, Eduardo (2012) Remix Theory: The Aesthetics of Sampling (Vienna and New
York: Springer).
Parikka, Jussi, and Mercedes Bunz (11 July 2014) ‘A Mini-Interview: Mercedes
Bunz Explains Meson Press’, Machinology,
Richards, Victoria (7 January 2016) ‘Monkey Selfie: Judge Rules Macaque Who
Took Grinning Photograph of Himself “Cannot Own Copyright”’, The Independent,
everybody involved in producing a book: ‘A book isn’t just a product that
starts a dialogue between author and reader. It is accompanied by lots of
other academic conversations — peer review, co-authors, copy editors — and
these conversations deserve to be taken more serious’. Jussi Parikka and
Mercedes Bunz, ‘A Mini-Interview: Mercedes Bunz Explains Meson Press’,
Machinology, 2014,
collaborative and even often anonymous: for example, they are experimenting
with research published in wikis to further complicate the focus on single
authorship and a static marketable book object within academia (see their
living and liquid books series).
[41](ch3.xhtml#footnote-112-backlink) Lori Emerson, ‘Digital Poetry as
Reflexive Embodiment’, in Markku Eskelinen, Raine Koskimaa, Loss Pequeño
Glazier and John Cayley (eds.), CyberText Yearbook 2002–2003, 2003, 88–106,
[42](ch3.xhtml#footnote-111-backlink) Dani Spinosa, ‘“My Line (Article) Has
Sighed”: Authorial Subjectivity and Technology’, Generic Pronoun, 2014,
[43](ch3.xhtml#footnote-110-backlink) Spinosa, ‘My Line (Article) Has Sighed’.
[44](ch3.xhtml#footnote-109-backlink) Emerson, ‘Digital Poetry as Reflexive
Embodiment’, p. 89.
[45](ch3.xhtml#footnote-108-backlink) Rolf Hughes, ‘Orderly Disorder: Post-
Human Creativity’, in Proceedings of the Linköping Electronic Conference
(Linköpings universitet: University Electronic Press, 2005).
[46](ch3.xhtml#footnote-107-backlink) N. Katherine Hayles, ‘Print Is Flat,
Code Is Deep: The Importance of Media-Specific Analysis’, Poetics Today 25.1
(2004), 67–90,
‘Performative Materiality and Theoretical Approaches to Interface’, Digital
Humanities Quarterly 7.1 (2013),
Drucker, ‘Distributed and Conditional Documents: Conceptualizing
Bibliographical Alterities’, MATLIT: Revista do Programa de Doutoramento em
Materialidades da Literatura 2.1 (2014), 11–29.
[47](ch3.xhtml#footnote-106-backlink) Nick Montfort, ‘The Coding and Execution
of the Author’, in Markku Eskelinen, Raine Kosimaa, Loss Pequeño Glazier and
John Cayley (eds.), CyberText Yearbook 2002–2003, 2003, 201–17 (p. 201),
[48](ch3.xhtml#footnote-105-backlink) Montfort, ‘The Coding and Execution of
the Author’, p. 202.
[49](ch3.xhtml#footnote-104-backlink) Lori Emerson, ‘Materiality,
Intentionality, and the Computer-Generated Poem: Reading Walter Benn Michaels
with Erin Moureacute’s Pillage Land’, ESC: English Studies in Canada 34
(2008), 66.
[50](ch3.xhtml#footnote-103-backlink) Marcus Boon, In Praise of Copying
(Cambridge, MA: Harvard University Press, 2010); Johanna Drucker, ‘Humanist
Computing at the End of the Individual Voice and the Authoritative Text’, in
Patrik Svensson and David Theo Goldberg (eds.), Between Humanities and the
Digital (Cambridge, MA: MIT Press, 2015), pp. 83–94.
[51](ch3.xhtml#footnote-102-backlink) We have to take into consideration here
that print-based cultural products were never fixed or static; the dominant
discourses constructed around them just perc