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they will provide opportunities for sharing and collabora- Claire Taylor offers a study of a U.S.-Salvadoran me-

tion. dia artist and critic in “Post-Digital Remixes and Carna-

Laura Borràs, founder of the international literary stud- valesque Relinkings: Eduardo Navas’s Goobalization”. An-

ies and digital technologies research group, Hermeneia, at alyzing Navas’s Goobalization—a triology on brief online

the Universitat de Barcelona, penned “E-literature in Bytes animations, Taylor connects Foucault’s theories of power

and in Paper. The Digital Revolution in Contemporary Lit- and resistance to globalization. She examines the overlaps

erature from Spain.” In this article, she recognizes that, in between Navas’s remix theory and other Latin American

Spain, digital technologies as an object of study still suffer theorists’ consideration of the copy. Taylor concludes that

from a lack of prestige vis-à-vis traditional literature. Con- Navas’s work challenges the traditional roles of author and

cerned with questions of textuality and authorship, she an- reader and exposes the power relations hidden in the sourc-

alyzes several digital texts, including those of the experi- es he re-uses.

mental poet Ramon Dachs, the born-digital work of Isaías Irene Depetris Chauvin’s “Voice, Music and the Expe-

Herrero and Ton Ferret, and the eclectic projects of Vi- rience of the Neutral in Martín Rejtman’s Fictions” draws

cenç Altaió, Claret Serrahima, and Jordi (Jorge) Carrión. on Barthes and Deleuze to analyze the function of mu-

She discusses the different reading logic that digital texts sic and voice in the Argentine Rejtman’s films and short

require and considers the reading process as an ergodic act, stories. Chauvin examines his minimalist expression and

concluding that this new literature is a process, not a static draws parallels with the market and political economies.

work of art and, as such, requires a participatory “wreader” She concludes that through his use of minimalism, Rejt-

(writer + reader). man achieves an objectivity that can be used to question the

The third section of the issue, “Remixing and Recycling world in which we live. Depetris Chauvin’s essay is wordy

Narrative Bits and Bytes,” begins with J. Andrew Brown’s at times, but shows great insight and a genuine literary sen-

“An Archaeology of Digital Aesthetics: Musical Sampling sibility.

in Rodrigo Fresán’s ‘Señales captadas en el corazón de una fi- In “Close Readings of the Historic and Digital Avant-Gar-

esta’ (‘Signals Received in the Heart of a Party’).” Brown des: An Archeology of Hispanic Kinetic Poetry,” Eduardo

offers a fascinating analysis of Argentine Fresán’s short sto- Ledesma explores how digital poetry enhances avant-gar-

ry, focusing on the intertextual use of mash-up music as a de notions of poetry. He studies two Catalan poets—Joan

metaphor for the narrator’s construction of his own posthu- Salvat-Papasseit (from the 1920s) and Joan Brossa (from

man identity. Brown concludes that this kind of writing in the 1960s and 1970s)—as well as the contemporary Argen-

print narratives helps us to understand mash-up narratives tine poet Ana María Uribe. He draws connections between

in the digital world. Ultimately, we see “surprising continu- avant-garde poetry and digital/virtual poetry based on the

ities between storytelling in digital and print media” (190). affective response in the viewer and a desire to re-embody

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Revist a de alces XXI Número 1 , 2013