, Volume 44, Issue 1, pp 27–39 | Cite as

Postdigital synchronicity and syntopy: the manipulation of universal codes, and the fully automated avantgarde

  • Germán Sierra-ParedesEmail author


In recent years, the use of new (both linguistic and non-linguistic) literary codes has accelerated due to the global technological intermediations between writers, scientists and artists, and to the increase and diversification of human–machine interactions. The new codes emerging from this new set of global interactions are often re-interpretations of literary and artistic methods and devices developed by modern and postmodern avangardist movements; however, they present some new interesting features when expanding through postdigital environments, where a novel universe of data/symbols are manipulated by a variety of human–machine assemblages with different modes of implication in performance-driven collaborative arrangements. This article critically reviews and reflects on literary works entering and exploring this postdigital space by using innovative art/writing codes.


Literature Postdigital Automated avantgarde Synchronicity Syntopy Universal code 



This work was supported by Grant FFI 2012-35296 from the Ministerio de Educación, Cultura y Deporte (Spain) to Prof. Anxo Abuín González.


  1. Avedisian, A.A. (2015). The economy of nostalgia, AQ. December 16. Accessed February 2016.
  2. Bernico, M. A. (2015). Notes on symbiopoiesis. Accessed February 2016.
  3. Bohn, W. (2011). Reading visual poetry. New Jersey: Fairleigh Dickinson University Press.Google Scholar
  4. Boscacci, L. (2015). The archive in contemporary art: A literature review. International Journal of Liberal Arts and Social Science, 3, 8.Google Scholar
  5. Brassier, R. (2007). Nihil unbound: Enlightenment and extinction. New York: Palgrave Macmillan.CrossRefGoogle Scholar
  6. Butler, B. (2013). If you build the code, your computer will write the novel. Vice. Accessed February 2016.
  7. Coleman, E. G. (2013). Coding freedom. The ethics and aesthetics of hacking (pp. 11–15). Princeton: Princeton University Press.Google Scholar
  8. Deleuze, G. & Guattari, F. (1987). A thousand plateaus: Capitalism and schizophrenia. Minneapolis: University of Minnessota Press.Google Scholar
  9. Galloway, A., Thacker, E., & Wark, M. (2014). Excommunication. Three inquiries in media and mediation. Chicago: The University of Chicago Press.Google Scholar
  10. Goldsmith, K. (2011). Uncreative writing. New York City: Columbia University Press.Google Scholar
  11. Hansen, M. B. N. (2015). Feed-forward: On the future of twenty-first-century media. Chicago: University of Chicago Press.Google Scholar
  12. Harman, G. (2010). Towards speculative realism: Essays and lectures. Winchester: Zero Books.Google Scholar
  13. Hayles, N. K. (2002). Writing machines (pp. 21–24). Cambridge: MIT Press.Google Scholar
  14. Ikoniadou, E. (2014). The rythmic event. Art, media and the sonic (p. 19). Cambridge: MIT Press.Google Scholar
  15. Isaksen, A., Togelius, J., Lantz, F. & Nealen, A. (2016). Playing games across the superintelligence divide. In Thirtieth AAAI conference on artificial intelligence (AAAI-16), Workshop on AI, ethics, and society.
  16. Jameson, F. (1997). Culture and finance capital. Critical Inquiry, 24(1), 264–265.CrossRefGoogle Scholar
  17. Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York: New York University Press.Google Scholar
  18. Joselit, D., Lambert-Beatty, C., & Foster, H. (2016). A questionnaire on materialisms. Cambridge: MIT Press.Google Scholar
  19. Larson, D. (2013). Irritant. Detroit: Dzanc Books.Google Scholar
  20. Latour, B. (1987). Science in action: How to follow scientists and engineers through society. Cambridge: Harvard University Press.Google Scholar
  21. Lorenzin, F. (2015). The emojification of reality: Interview with Carla Gannis. Digicult. Accessed February 2016.Google Scholar
  22. Lütticken, S. (2016). Neither autocracy nor automatism: Notes on autonomy and the aesthetic. E-Flux, 69. Accessed February 2016.Google Scholar
  23. Manovich, L. (2007). Database as symbolic form. In V. Vesna (Ed.), Database aesthetics, art in the age of information overflow. Minneapolis: University of Minnesota Press.Google Scholar
  24. Negarestani, R. (2010). Technodrome. In K. Siratori (Ed.), “Guerrilla sex generation”. Artists eBooks.Google Scholar
  25. Negarestani, R. (2016). What Is philosophy? Part two: Programs and realizabilities. E-Flux, 69. Accessed February 2016.Google Scholar
  26. Sierra, G. (2016a). Deep media fiction. Numéro Cinq, Vol. VII, No. 1. Accessed February 2016.Google Scholar
  27. Sierra, G. (2016b). Postdigital fiction: Exit and memory. In C. Domínguez, A. Abuín & E. Sapega (Eds.), A comparative history of the literatures in the Iberian Peninsula (Vol. 2). John Benjamins (in press).Google Scholar
  28. Srnicek, N., & Williams, A. (2015). Inventing the future. Postcapitalism and a world without work. Brooklyn: Verso.Google Scholar
  29. Tabbi, J. (2010). Electronic literature as world literature; or, the universality of writing under constraint. Poetics Today, 31(1), 17–50.CrossRefGoogle Scholar
  30. Wark, S. (2015). The meme in excess of its instance. Excessive research, Accessed February 2016.
  31. Zielinski, S. (2008). Deep time of the media (p. 10). Cambridge: MIT Press.Google Scholar

Copyright information

© Akadémiai Kiadó, Budapest, Hungary 2017

Authors and Affiliations

  1. 1.Department of Biochemistry and Molecular Biology, School of MedicineUniversity of Santiago de Compostela, Santiago de CompostelaSantiago de CompostelaSpain

Personalised recommendations