Index

While this index is primarily prepared for codex-oriented search practices, it might be most useful as a series of input prompts and frequency clusters to aid “Ctrl+F” operations within digital versions of the preceding text, which can more precisely summon localized contexts for specified terms. More expansively, these terms might also be used to query any little database of related texts in the reader’s personal collection or via online repositories to discover unexpected intertextual connections that exceed the contingent limits of the book. In this way, the index is offered as another way to connect to the little database in general. For a media poetics addressing contemporaneous transformations to the cultural form of the index, see INDEX INDEX (2025) in the Manifold edition.

access to knowledge (A2K), 1–2, 5, 9–13, 28, 44–45, 53–54, 61–64, 70, 82, 85–86, 89–90, 120, 129, 180–81, 197nn22–23, 201n3, 206n1, 213n27. See also distribution
Acconci, Vito, 19, 137–42
actor-network theory (ANT), 163, 171, 215nn49–50
Adobe Systems, 84, 90–91, 165–66, 206nn80–81, 216n58
Adorno, Theodor, 23, 31, 38
aesthetics, 2, 26, 28, 32, 34–35, 129–30, 166, 197n15
Ambulanzen, A. S., 23–24, 31. SeeLütgert, Sebastian; Textz
Amerika, Mark, 158–59
Anable, Aubrey, 25
Andrews, Bruce, 61–62
APOD.LI (Library of Artistic Print on Demand), 58
applied poetry. Seemedia poetics
Arcangel, Cory, 86, 157–58
archival repertoires, 7–8, 20, 26–27, 67, 93, 181–82, 191n9
ASCII (American Standard Code for Information Interchange), 23–24, 30, 32–33, 35, 39, 41–42, 45, 47, 52, 59, 94, 216n62
AT&T Bell Labs, 167–71
Awake in th Red Desert,18, 102, 107–19, 118, 122, 124, 129–30. See alsobissett, bill

Benjamin, Walter, 27, 51–52, 137
Bennett, Vicki (People Like Us), 19, 143, 160–73
Bernstein, Charles, 18, 20, 55, 61–62, 75–76, 114, 116, 121, 136, 179, 181
bibliographic codes, 18, 66, 74, 77, 82, 88, 91, 105, 114, 192n25
“big data,” 1–2. Seecultural analytics; large language models
bissett, bill, 18, 102–31
Bogost, Ian, 24
Bolter, David, 77, 85
Borges, Jorge Luis, 48–49
Braddock, Jeremy, 26–27
Broken Tongue,100–101. See alsoMorris, Tracie
Bryant, John, 73–74

Cage, John, 146–47
care, 7, 13, 175, 181, 183
Chun, Wendy Hui Kyong, 14, 41, 78
close listening, 97, 102, 129, 207n1
clout (algorithmic), 179–80
collage film. Seecompilation; montage
compilation, 10, 27, 103–4, 134, 143–44, 160–66, 175–76, 214n42
compression, 6, 12–13, 18, 46, 51, 54, 65, 85–86, 98, 100, 141, 157, 175, 178, 185
“Conceptual Crisis of Private Property as a Crisis in Practice,” 50–52
container technology, 17, 38–39, 51
contingency, 11–12, 101, 104, 193n35, 194n38
contingent reading, 8, 11–15, 47, 64, 89, 95, 123, 130, 160–63, 175
copyleft, 23, 29, 45
copyright, iv, 12–13, 23, 28, 31, 39, 45, 109–110, 113, 142, 151–52, 197n22, 197n23, 213n28
creative scholarship, 20–21, 55, 130, 134–35, 201n4. See alsomedia poetics
critical data practices, 69–71
critical making. Seecreative scholarship; media poetics
Cryptonomicon,50–52
cultural analytics, 2, 9–11, 24, 31–32, 36–38, 40, 43, 66, 68–73, 81, 91, 106–8, 166, 183

Da, Nan Z., 24, 196n2
“Daisy Bell,” 169–70
data visualization, 16, 30–35, 56, 69–71, 125, 129
“Defective Record,” 5–7, 11, 18, 97–98, 101, 191n11
deformance, 20, 55, 136
De Kosnick, Abigail, 26–27
Deleuze, Gilles, 29, 31, 47
DePNG (DePNG Probably Nothing Generator), 52–53
Derrida, Jacques, 65
digital archives, 4–5, 7–8, 16, 18, 21, 36, 61–71, 77–91, 102, 105–6, 115–16, 119, 151, 164, 173, 175–76, 182, 192n23; in relation to other terms, 25–27, 196n8
digital humanities, 2, 15–16, 24, 31–32, 54–56, 68–71, 81, 106–8, 124, 196nn2–3
digital object, 3–4, 7–9, 12–14, 24, 41, 53, 56, 65–67, 75, 80, 97, 100–101, 112, 133, 139–40, 143–64, 175, 178, 183, 190n5
dispersion, 15–16, 18–19, 65–66, 88, 99–105, 118, 140, 152, 161. See alsoaccess to knowledge
distribution, 12, 17–18, 25, 27–29, 39, 45, 61–62, 74–77, 82–83, 85–86, 112–13, 115, 122, 150–54
Dworkin, Craig, 8, 14, 17, 62–66, 78–88, 149–50

Eclipse,8, 11, 14, 17–18, 62–70, 76–91, 93–94, 202n7, 205n60
editorial practice, 50, 62, 72–74, 96, 104, 126–28, 133–34, 142–43, 166, 173, 176–77
editorial theory, 73–74, 88
Eichorn, Kate, 27
Electronic Poetry Center (EPC),20, 179–83, 218n7
Elektro, the Westinghouse Moto-Man, 169–71
embodied knowledge, 68, 190n8
Emerson, Lori, 10, 55–56, 201n5
encryption, 46, 49–50, 199n56
Enxuto, João, 144, 176–78
EXE TXT,55–59
executable text. Seetextwarez

film, 3, 12, 19, 87, 100–101, 137–83, 216n58
Filreis, Al, 18, 69, 71
Flash Artifacts,175–78
Flores, Leonardo, 124, 128
fluid text, 73, 81, 180, 204n40
F L U X L I N E S,154–55
format theory, 13–14, 42–43, 53, 198n23
found footage film, 147–48, 161–62, 165–66, 214n44. See alsocompilation

Gauss PDF, 58–59
GIF (Graphics Interchange Format), 67, 83–91
Gitelman, Lisa, 40, 43, 77, 83–84, 90
Glazier, Loss Peqeño, 20, 179–80, 182, 217n1
glitch, 7, 11, 18, 42–43, 79–80, 94, 99–101, 141, 157–58, 165, 180–83, 199n48
Goldsmith, Kenneth, 19, 142–43, 212n7, 212n8
Groys, Boris, 88–89
Grusin, Richard, 77, 85

Hakopian, Mashinka Firunts, 94. See “Soft Index (OF repeating PLACES, PEOPLE, AND WORKS)”
Hart, Michael, 29, 42
Hayles, N. Katherine, 10–11, 192n22, 193nn29–33
hermeneutics, 9, 67, 72, 75, 83, 103
Hoff, James, 112
HTML (Hypertext Markup Language), 29, 79, 82–83, 154–55, 183
“Hypermnesia,” 14, 65, 88

Incredible Machine,168–73
INDEX INDEX. See Manifold edition of this book
infrastructure, 7, 13–14, 41–43, 53, 81, 150
infrathin, 46
Internet Archive, 18, 30, 33–35, 52, 63, 67, 78–81, 84–85, 93, 164, 176, 180, 182

Jagoda, Patrick, 169
Johnston, David (Jhave), 19, 101, 124–31
JPG (Joint Photographic Experts Group), 85–86, 89–90

Kirschenbaum, Matthew, 151, 180–81, 193n34
Kittler, Friedrich, 15, 77
Knowlton, Ken, 166–71, 216n62
Kontopoulos, Michael, 155–56

L=A=N=G=U=A=G=E,17, 61–64, 66–67, 76, 80, 83–90, 93–96, 202n9, 206n6
L≠A≠N≠G≠U≠A≠G≠E,93–96
Language Poetry, 61–64, 93, 202n9
large language models (LLMs), 1, 50, 94–95, 171
Leggero, Luca (LUNK), 154–55
Lemaître, Maurice, 147–50
Lin, Tan, 43–44. See“Soft Index (OF repeating PLACES, PEOPLE, AND WORKS)”
little magazine, 2, 8–10, 17, 27, 61–70, 74–82, 121, 191n20, 202n10, 203n27, 206n2
Liu, Alan, 11–12
Lorusso, Silvio, 66, 87
Lütgert, Sebastian, 17, 23, 25–26, 28–29, 32, 38–39, 44–54, 124

Making of the Americans,72–74
Manovich, Lev, 3, 9–10, 77, 126, 141, 190n6
material text, 8, 10–11, 15, 66, 82, 87–88, 104, 193n31
material metaphor, 5–6, 43–45, 97, 173
McGann, Jerome, 20, 43, 55, 70–72, 75, 114
media poetics, 4–5, 9, 15, 20–21, 55–6, 59, 68, 71–74, 95–96, 133–36, 176–78, 183, 201nn4–5. See alsocreative scholarship
media reflexivity, 3, 5, 7, 11, 19, 97–98, 141, 154, 176, 189n4, 192n23
media specificity, 10–11, 13, 65, 87–89, 144–45, 149–50, 155, 165–66, 176, 189n4
Melgard, Holly, 72–74
metacinematic, 162
methods, 3, 7–9, 11–12, 15–16, 20–21, 24–25, 65, 68–70, 73, 89, 103–4, 143, 193n34, 194n49
Modernist Journal Project,70, 76, 191n20
montage, 161–63, 165–67, 170–71
Morris, Adalaide, 15
Morris, Tracie, 18, 98–101, 125
MP3 (MPEG-2 Audio Layer III), 5–7, 13–14, 18–19, 97–102, 113–20, 129–31, 135–36, 198n33
MUPS (MashUPS),19, 124–31, 134, 136, 210n47
music blog, 108–113
Mutant Sounds,18–19, 108–17, 120–21, 128

net art, 27, 32, 53–54
nettime listserv, 23
network ambivalence, 169
Nooney, Laine, 25

OCR (Optical Character Recognition), 84, 89–91
October,96, 189n4
ordinary media, 9–10, 21, 27, 122, 181–82. Seepersonal collections

Paik, Nam June, 19, 143–60, 177–78, 212n12
PDF (Portable Document Format), 1–2, 4, 18, 21, 44–45, 49, 67, 83–84, 89–91, 181, 206n81
PennSound,3–7, 18–19, 97–131, 133–36, 191n10, 207n3, 209nn27–34, 210n52
People Like Us. SeeBennett, Vicki
performance, 7–8, 17–18, 20–21, 71, 89, 97–101, 104–5, 129–30, 153, 163, 172, 207n3, 208n5. Seeplay
periodical codes, 9, 74–75, 81–83, 192n25. Seebibliographic codes
periodical studies, 8–9, 17, 61–71, 76, 203n27
periodicity, 17, 27, 37–38, 67, 74–75, 80–82
personal collections, 1–2, 5, 7, 9–10, 21, 104, 112, 122–23, 139, 181–83
PHP (PHP: Hypertext Preprocessor), 44–48, 50
piracy, 27–28, 32, 44–46, 54, 191n22
play, 1, 4–5, 7, 16–17, 21, 24–25, 29, 49–50, 53, 55–56, 59, 63, 71, 97, 122–23, 131, 137–38, 165, 169, 178, 183, 195n52, 200n67. Seemedia poetics
pngreader, 48–50, 200n60
Poemfield No. 2,167, 170–71, 217n72
poetics. SeeBernstein, Charles; Dworkin, Craig; media poetics
poor image, 12–13, 85–86, 88, 194n39. SeeSteyerl, Hito
post-digital, 66, 139, 202n20
Pound, Ezra, 67–68, 70, 76
Prelinger, Rick, 168. SeeInternet Archive
preservation, 16–18, 62, 65–67, 78–83, 93–94, 96, 119–20, 181–82. See alsodigital archives
Price, Kenneth M., 25–26, 196n9, 197nn10–11
Project GNUtenberg,28–30
Project Gutenberg,28–29, 42
protocol, 9, 11, 13–14, 16–17, 39–43, 46, 53, 71, 140, 152, 155, 179, 183, 213n17
provisional institution, 26–27, 75, 192n21

radical formalism, 14–15, 65, 202n17. SeeDworkin, Craig
Raworth, Tom, 182
remediation, 3, 15, 77, 84–85, 90, 144, 151–54, 164–65. Seetranscoding
remix, 19, 55, 66, 99, 101, 116, 122, 124–31, 136, 152–54, 158, 160–64, 168–73, 175. Seemedia poetics
repository. Seedigital archives
rogue archive, 26–27. Seearchival repertoires
Russell, Legacy, 100

Samuels, Lisa, 20, 55
Saper, Craig, 27, 47, 54, 75–76
Savirón, Mónica, 100–101
scale, 2, 13–16, 24, 67, 70, 93, 95–96, 160, 180–81, 183, 189n2
Scholes, Robert, 8, 67–70, 76, 191n20
shadow libraries, 27–29, 94, 140–41, 151–52, 197n23, 213n27. Seeaccess to knowledge (A2K)
sociopoetics, 27, 32, 47, 54, 75–76
“Soft Index (OF repeating PLACES, PEOPLE, AND WORKS).” See INDEX INDEX
speleology, 25
SpokenWeb,118–23, 128–29
standards, 13–14, 16, 41–42, 67, 90–91, 98, 208n80
statistics, 24, 29–38, 70, 79, 82, 95, 198n29. Seecultural analytics
steganography, 50–53
Stein, Gertrude, 72–74
Stephenson, Neal, 50–51
Sterne, Jonathan, 13–14, 39, 42, 53, 113, 119, 198n33
Steyerl, Hito, 12–13, 85, 87–88, 100, 194n39
streaming, 2, 7, 13, 20, 28, 110, 112, 138–40, 144, 153–54, 165–66, 181, 195n52
Structural Film (2007), 157–58
supertemporal, 147–50, 153, 157, 160, 213n17
surveillance, 35, 198n28

Tenen, Dennis, 40, 42–43
textwarez, 16–17, 24–25, 39–40, 43–50, 53–54, 56–59
Textz,16–17, 23–59, 89, 93–94, 135, 197n21, 200n67
Theme Song,19, 137–41, 143–44, 175
Thomson, Mungo, 159–60
Thylstrup, Nanna Bonde, 13
TMI (Theory and Method on the Internet), 7–8, 194n49
Toujours à l’avant-garde de l’avant-garde, jusqu’au paradis et au-delà! (Ever the Avant Garde of the Avant Garde till Heaven and After),147–49, 213nn18–19
transcoding, 3–4, 7, 19, 49, 54, 73, 77, 85, 93, 100, 126, 141, 145–46, 150, 160–65, 178, 190n6, 193n27
transmission, 3, 16, 18, 45, 53–54, 97–105, 108–23, 133, 139, 142, 150–51, 161, 183
TXT (Text File), 16–18, 23–25, 28–32, 36–53, 55–59, 89; as plaintext, 42, 199n56

UbuWeb,4, 11, 16, 19, 109–11, 116–18, 121, 128–29, 140–44, 151–55, 164, 176–79, 182, 211n6, 212n7, 212n8
unit operations, 24, 196n5
user logs, 24, 29–35, 38

VanDerBeek, Stan, 166–72
Van Der Weel, Adriaan, 40
variable formats, 3–4, 7–8, 10, 12–16, 20–21, 56, 59, 65–67, 83–89, 105, 106–8, 141, 146, 178, 180
variantology, 79–81, 180
Varieties of Experience, The,159–60
versioning, 4, 95–96, 105, 121–23, 149, 151, 204n40

walser (.pdf, .php, .php.txt, .txt, makewalser.php), 44–47
warez, 32, 39, 44–46
Warnock, John, 90–91, 206n80. SeePDF (Portable Document Format)
Wayback Machine, 18, 79–81, 180, 197n21, 218n7. SeeInternet Archive
web 1.0, 20, 180
We Edit Life,19, 143, 160–73, 175–76, 215n53
Wees, William C., 165
Weheliye, Alexander G., 208n5
Williams, William Carlos, 5–6, 18, 97–100, 133–34, 191nn10–11
Wulfman, Clifford, 8, 67–70, 76, 191n20

YouTube, 144–45, 150–56, 164, 189n3, 211n4

Zen for Film,19, 143–60, 164, 175–77, 212n12, 213n16
Zen for Mobile Phone Video,158–59
Zen for YouTube,155–56
ZIP (file format), 112, 175, 185–88. Seecompression

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