Episode 1: “China,” Inanimate Alice has been named as an example of “digital literature” in Alan Bigelow‘s curated collection: “In Search of a New(er) Digital Literature.

From Alan’s curatorial statement:

“Given its ongoing (and often surprising) metamorphoses on the web, it is dangerous to lay claim to a universal identity for digital literature, where exceptions to the rule often signal the coming of new forms, new iterations. But as a result of recent technologies, and digital literature’s explosive re-invention of itself on the web, some aesthetic patterns may be emerging on the contemporary scene that offer hope for a form still struggling for its public identity.

Of course, not all digital literature is found on the web—interactive multimedia installations, CD/DVD-based works, and live performances with multimedia components, to name a few, are important and fascinating parts of the digital literature scene. The offline component to this exhibition,for example, shows that web-based art can have a life outside the virtual world, something many galleries and museums are finallyrecognizing as digital literature makes its way into art centers and exhibition venues worldwide.

But for the most part, the works in this exhibition, and many like them, find their life, and major readership, on the web. The web is not just a quick and expedient way to find an audience for digital literature, a way to self-publish at minimal cost, and a path to self-promotion; it also offers worldwide access to a multimedia platform for which these works can be created, and provides a place for them to thrive. As the public has growing access to cable and DSL, and browsers become more adept at handling different media, the web becomes an increasingly friendly place for digital literature, and for an audience weaned—through their daily cyber-lives—on multimedia, connectivity, and interactivity.”