Selected Academic Publications

Here are some of my academic-ish publications:

#Postweb! Crear con la máquina y en la red. Madrid: Iberoamericana-Vervuert, 2018

This book (#Postweb! Writing With Networked Machines) explores the role of digital technologies in recent literary experimentation in Spain throughout the last two decades. I look at print books where their digital conception has left a traceable, literary mark (recent novels and poetry by Vicente Luis Mora, Jorge Carrión, Agustín Fernández Mallo, Robert Juan Cantavella and Javier Fernández), as well as born-digital objects living online (Belén Gache’s digital poetry, blog novels, and performances and Doménico Chiappe’s hypertextual novels). Digital media is no longer seen as a novelty, but as a sign of our present time, changing the way writers relate to the past, history, and their record. In the Spanish case, digital experimentation with literary forms (and other forms of memory) is conceptualized as a rejection of the prevalent literary canon, in decay since the financial and institutional crisis of 2008. [This book is in Spanish]

Read the INTRODUCTION [in Spanish] and some reviews here, here, here, here, here and here…

Peer-Review Special Issues

  • Futuros: imaginarios, redes y prácticas digitales en la cultura española. Un catálogo de posibles. Alex Saum-Pascual and Álvaro Llosa Sanz Eds. Journal of Spanish Cultural Studies. 24.1 (2023). FULL ISSUE HERE. – Read the introduction (in Spanish) here

Aunque en la actualidad los medios digitales ocupan un espacio central indiscutible en la cultura y vida diaria española, las artes y la literatura digitales aparecen como un caso aparte en relación con su consideración cultural. Su posición en los márgenes de la relevancia e influencia cultural del mercado, no obstante, les permiten desafiar cuestiones centrales a la formación cultural española, la identidad nacional, y la relación de las gentes de España con su propio territorio, su historia y su memoria. Esta posición tan particular ha provisto un campo muy productivo e interesante que ha animado a diferentes artistas y escritores a explorar nuevas formas y formular nuevas preguntas. ¿Cómo podríamos imaginar el futuro (o los futuros) de España reubicando la experimentación digital actual hacia ese posible futuro? O, dicho de otro modo, ¿cómo podría ser el futuro si colocamos lo digital en el centro de atención de nuestro presente? Organizadas a modo de catálogo para un museo del futuro, las contribuciones de este número monográfico ofrecen acercamientos metodológicos y formales muy diversos que, en diálogo entre sí, nos permiten cartografiar y también (re)imaginar intelectualmente una red de relaciones sobre los imaginarios digitales y sus procesos de digitalización que, desde la actualidad, apuntan prospectivamente a marcar la tendencia de algunos de los materiales, las técnicas y los motores emocionales de la cultura española del futuro.

  • Electronic Literature [Frame]works for the Creative Digital Humanities. Special issue co-edited with Scott Rettberg. Electronic Book Review, 2020. FULL ISSUE HERE

Edited by Scott Rettberg and Alex Saum-Pascual, this issue gathers a selection of articles exploring the evolving relationship between electronic literature and the digital humanities in Europe, North and South America. Looking at the combination of practices and methodologies that come about through e-lit’s production, study, and dissemination, these articles explore the disruptive potential of electronic literature to decenter and complement the DH field. Creativity is central and found at all levels and spheres of e-lit, but as the articles in this gathering show, there is a need to redeploy creative practice critically to address the increasing instrumentalization of the digital humanities and to turn the digital humanities towards the digital cultures of the present. Read the complete introduction HERE [“Introduction: Electronic Literature as a Framework for the Digital Humanities.” Electronic Book Review, August 2020. Co-authored with Scott Rettberg].

  • Recuerdos visuales fotográficos. Isabel Arquero Blanco, Luis Deltell Escolar, Alex Saum-Pascual y Carlota Nicolás Martínez Eds. Revista Fotocinema. 25 (July 2022). FULL ISSUE HERE

In the past few decades, Social Sciences and Neuroscience research have turned to Memory Studies. Neuroscience research has focused on neuronal connections and other processes involved in memory creation. How memories are made, and how individuals are made of these memories, is the basis of Veronica O’Keane’s A Sense of Self (2021). From the Social Science perspective, Memory Studies examines the role of memory in identity formation, exploring how individuals, groups, or whole societies remember or forget. Post-memory, re-memory, family post-memory, affiliative memory, collective visual memory, etc., all refer to the individual’s memory (autobiography, self-portraits, diaries), but also to second and third generations’ transmitted memories. Photographic Visual Memories examines the many representations of real or false memories: as introspection, as a way to learn about the author’s identity and origin, as artificial memories, as a means of questioning the reality of an image. And also, as a speculative way of first-person documenting its own processes of exhibition and image viewing.

Articles in Peer-Reviewed Journals

  • “Literatura digital para el fin del mundo: ecología y algoritmos en el Capitaloceno” Diálogos Latinoamericanos, 31 (2022): 93–109. FULL TEXT HERE

This essay examines the relationship between digital technologies and climate damage, looking at a selection of works of digital literature that expose their entanglement within material networks of mineral extraction and energy consumption. It argues that the modern dichotomous framework that separates humans from nature has propelled the evolution of digital technologies, paving the way to contemporary globalization. Using the Capitalocene (Moore) as alternative periodization, I analyze the work of 8 digital artists from the Latin American diaspora and Spain who challenge the virtual/material and human/nature divisions and defend, instead, a posthumanist ethical relationship with nature (Braidotti, Haraway, Hayles). Finally, from this environmental perspective, I argue that digital literature’s planetary impact situates it at the center of any transatlantic studies discussion.

  • “Memory Traces: Printed Electronic Literature as a Site of Remembrance.” Comparative Literature Studies. 57.1 (2020): 69-94. FULL TEXT HERE

This article analyzes Steven Hall’s The Raw Shark Texts (2007) and Robert Juan-Cantavella’s Otro (2001) as examples of printed electronic literature, where the use of the codex book as inscription mechanism emphasizes a previous state of digital composition. Appearing in different parts of the globe and in different languages—United Kingdom/English and Spain/Spanish correspondingly—both novels take full advantage of the computer and the Web’s contexts and capabilities in order to express the existing tension between both mechanisms of production and their treatment of memory. Their engagement with technology and the remaining digital traces that are present in their print pages are read as manifestations of a deeper historical mark, a trace that engages history and the possibility of talking about a past that permeates through our present inscription mechanisms—that is, digital texts. Thus, these traces are to be read not just as media traces, but also as the trace of a history that cuts through the medium of inscription. Finally, I propose that we read new digital techniques for writing as unveiling a literary ruin, and we think of them as building upon the decomposition of the novelistic form and its legendary ways of telling and recording memory and history.

  • “Digital Creativity as Critical Material Thinking: The Disruptive Potential of Electronic Literature.” Electronic Book Review, August 2020. FULL TEXT HERE

It’s been over ten years since Johanna Drucker suggested that Digital Humanities [DH] could only be fully understood by practice. More recently, in “Teaching Electronic Literature as Digital Humanities,” I proposed that the practical engagement with electronic literature addressed humanistic and literary concerns, as it developed skills related to the mastering of digital literacies. Building on these beliefs, this chapter still responds to the necessity of finding another way of approaching Humanities’ projects that situates “making” at the heart of its doing, focusing in particular on the creative elements within its practice. While this “making-as-theory” paradigm could be applied to a variety of disciplines within the Humanities, I encourage its application to DH and, more concretely, to the pedagogy and scholarship on digital or electronic literature [e-lit]. I find e-lit the best locus to explore the division between conceptualizing and making, because these digital objects [whose existence is anchored in materiality] and the immateriality of the rational logos that sits behind the traditional [abstract and modern] humanities discourse are essentially in opposition. Informed by this, this chapter first delineates a new conceptual framework for the study and practice of DH based on the concept of “critical creativity,” as an integral competence to “critical thinking,” turning Cornelius Castoriadis’s “radical imagination” into the kind of “critical creativity” that Christian De Cock, Alf Rehn and David Berry have proposed. Critical creativity departs from its neoliberal counterpart “innovation” seeing the imagination “in its essence rebellious against determinacy” (Castoriadis), liberating humans (and art) from any determinant logics of production or value creation. In its turn, this e-lit framework reinforces the importance of applying radically non-traditional [philosophical, literary, artistic] methodologies to DH programs over all. Secondly, this non-traditional, or post-Humanities paradigm centered around creativity acts, as well, as a type of the “posthuman thinking” that Rosi Braidotti proposes in The Posthuman (2013). In order to overcome the current stagnation of the traditional Humanities paradigm, she pursues alternative schemes of thought, knowledge and self-representation emerging from an embodied and embedded and partial form of accountability. Finally, in an attempt to defend the relevance of DH projects today thus, I’ll explore three examples of how I have implemented a critical creativity paradigm [perhaps as an experiment into Braidotti’s posthumanist practice] to the study of e-lit: a creative teaching experiment and two modes of what I have termed “material discourses” as alternatives to rational and immaterial humanistic scholarship.

  • “Is Third Generation Literature Postweb Literature? And Why Should We Care? Electronic Book Review. May 2020. FULL TEXT HERE

This essay builds on Leo Flores’s concept of “third generation electronic literature” by discerning a subcategory within it which, while using established Web platforms with massive user bases for its creation, maintains an ambiguous political tension with the presence of the Web in our everyday life. Expanding on my own definition of “postweb” (in #Postweb! Crear con la máquina y en la red), I look at a selection of memes by the Mexican editorial collective Broken English and my own YouTube poetry. Postweb is framed as a hyperaware expression of Web literature that refrains from being “difficult” or politically disruptive, in order to engage in a sort of cartoonish—yet, not completely apolitical—disenchanted critique of corporate media. Amateurish production, bad composition, poor image editing, and the formal repetition present in memes and viral videos are key to recognize postweb poetics, which point to an understanding of the computational and its representation in an attempt to domesticate it, juxtaposing “domestication” to the “defamiliarization” of high Modernist art (or to the best works of second generation electronic literature). Finally, this essay proposes that although postweb memes and poems are composed around the affordances and ideologies of social media (and as such they conform with and exploit their platforms) they also have the potential to defy and appropriate their logics in valuable ways.

  • “Fragmentation and the Digital City: An Analysis of Vicente Luis Mora’s Circular 07. Las afueras” Revista de Estudios Hispánicos 53.2 (2019): 605-632. FULL TEXT HERE

This essay juxtaposes three recent publications, Vicente Luis Mora’s Circular 07. Las afueras (2007-), Kenneth Goldsmith’s Capital: New York, Capital of the 20th Century (2015), and Jorge Carrión’s Barcelona. Libro de los pasajes (2016), in order to explore how contemporary digital technologies construct and fragment urban experience on a global scale. Despite their different political intentions, these three works share a common aesthetic of appropriation, unoriginal quotation, and fragmentation, as they are also all modelled after Walter Benjamin’s Arcades Project. Just like Benjamin did with Paris, each of these works focuses on a particular Western city—Madrid, New York, and Barcelona—now being proposed as paradigmatic representations of urban experience, which is meant to mimic digital media’s modularity and disintegration. Goldsmith’s use of appropriation is read as a blank endorsement of digital mediation of everyday life, which sits in opposition to Carrión’s and Mora’s political projects. Circular 07 and Barcelona mix unoriginal writing techniques, like Goldsmith’s conceptual writing, with other experimental methods to warn readers against apolitical adoption of digital technologies. Fragmentation is still proposed as the most important aesthetic form of twenty-first century writing, but these two Spanish works strive for its contextualization as a complex mechanism structured around reader/writer subjectivity. Finally, this essay ponders how to consider new reader/writer subjectivities within the larger context of global cities in late capitalism.

  • “Teaching Electronic Literature as Digital Humanities: A Proposal” Digital Humanities Quarterly 11.3 (2017) -FULL TEXT HERE

This essay presents an approach to teaching DH through two largely unexplored lenses: e-lit and foreign languages (Spanish in particular). It offers a practical example of a course taught during the Spring of 2016 at UC Berkeley that combines literary analysis with the teaching of basic programming skills, and DH tools and methods. By taking this example, this essay addresses three important pillars in the Humanities. Firstly, the overall concept of literature, and more specifically, the literary; secondly, what we understand by literary studies at the university; and thirdly, and more broadly, what constitutes cultural (beyond technical) literacy in the twenty–first century. This essay’s final claim is that teaching e-lit as DH effectively addresses all three.

  • “Alternativas a la (ciencia) ficción en España: dos ejemplos de literatura electrónica en formato impreso” Letras Hispanas 11 (2015): 239-259 -FULL TEXT HERE

This essay explores two Spanish science fiction novels, Alba Cromm (2010) by Vicente Luis Mora and Cero absoluto (2005) by Javier Fernández. It conceptualizes them as material embodiments of digital fiction, redefining the concept of e-lit as independent from the platform in which it is consumed—looking at this phenomenon as something that can be manifested beyond “born-digital” works. It further contextualizes science fiction and printed e-lit writing within their immediate Spanish context, proposing them as a rejection of the prevalent literary canon in Spain.

  • “Literatura española post-web: Al borde de lo virtual, lo material y la historia. El caso de Jordi Carrión” Arizona Journal of Hispanic Cultural Studies, 18 (2014): 115-133 -FULL TEXT HERE

This essay explores how Jorge Carrión’s book Crónica de Viaje sits at the perfect juncture of two types of culture (print and digital) as manifested in Spain. I identify a new narrative figure I call “interface narrator,” whose guidance is limited to an exposition of data that the reader must put together. His role within the final composition of the narrative object is based on reader’s digital horizontality, versus the vertical arrangement of events that a more traditional, more Modern narrative figure would predispose for the reader. By constructing this figure, Carrión is rejecting a homologous distribution of power within the cultural institutions of modernity in Spain.

  • “La poética de la Nocilla: Transmedia Poetics in Agustín Fernández Mallo’s Complete Works” Caracteres. Estudios culturales y críticos de la esfera digital, 3.1 (2014): 81-99 -FULL TEXT HERE

This essay looks at the work of Agustín Fernández Mallo to explore how his engagement with the media landscape is both a revolution and a contribution to fundamental concepts in contemporary literature such as authorship and narrative structure. Transmedia storytelling provides a structure to frame Fernández Mallo’s versatile multimedia production as a whole: one single poetic “work” expanding over a potentially infinite and ever-changing online universe. This universe can shed some light on the role of the writer within a larger network of media convergence and neoliberal enterprises.

  • Co-authored with Freya Schiwy. “Desalmados. Hipertextos y biopolítica en el mundo de la webserie española” Journal of Spanish Cultural Studies, 13.1 (2012): 19-38 -FULL TEXT HERE

Co-authored with Prof. Freya Schiwy, this essay deals with the Spanish web-series Desalmados, and further changes in online television storytelling from a biopolitical perspective. We look at the creative potential that the digital space offers, and we challenge the effectiveness of a critique of the current capitalist system that emerged from the same virtual structures that make its political violence invisible. Interactivity, content fragmentation, and control over the streming and viewing process are seen as metonymies of the precariousness of late capitalism, but we suggest that these technical means can (and should) be used in alliance with those forces trying to disrupt the current system of capital accumulation.

Book Chapters/Essays in Peer-Reviewed Edited Collections  

  • “Corporal y corporativa: sobre Corporate Poetry de Alex Saum.” Ciberfeminismos, tecnotextualidades y transgéneros. Literatura digital en español escrita por mujeres. Isabel Navas Ocaña y Dolores Romero López Eds. Madrid: Universidad Complutense UP, 2023. 219-241. GET BOOK HERE

En este ensayo expongo y contextualizo mi proyecto poético digital Corporate Poetry, describiendo sus tres poemas principales: “Room #1”, “Room #2” y “Room #3”; así como los generados a partir de los datos recopilados de “Room #2” (“Backroom #2” y “Backroom #3”), y una especie de poema secuela llamado “Potential Ideas and Other Tiny Things that Live in Your Gut”. A partir de la creación de “salas” interactivas, estos poemas reutilizan el lenguaje corporativo de plataformas como Google Forms, Survey Monkey, Qualtrics y Zoom, con el objetivo de domesticar el impulso neoliberal tras estas tecnologías de recopilación de datos. Con la subversión de estos lenguajes y convenciones, estos poemas devuelven la atención del lenguaje al cuerpo, atendiendo a la corporalidad que las plataformas e infraestructuras digitales tratan de ocultar en sus prácticas de sondeo y control corporativo. Escritos durante la pandemia de la COVID19 que forzó a gran parte de la ciudadanía mundial al confinamiento doméstico obligado, este tipo de poemas también permite iluminar otros aspectos de nuestro confinamiento cotidiano. Además, y aunque pueda resultar paradójico, la atención que estos poemas ponen en el cuerpo y la materialidad de los lenguajes corporativos nos ayudan a establecer otro vínculo entre las tecnologías digitales y la destrucción material de recursos naturales y humanos (léase también, pandemia, pero no únicamente), apuntando a cómo la evolución de estas tecnologías se lleva a cabo gracias a la explotación capitalista de toda la vida del planeta. La poética que se establece entre la materialidad de los lenguajes digitales y el cuerpo de las usuarias dentro de estas salas interactivas es otra manera de repensar esta relación.

  • “El ensayo material: Sobre la práctica de una escritura digital [femenina].” Voces encendidas: mujeres, arte y tecnología. María Goicoechea de Jorge and Laura Sánchez Gómez Eds. Madrid: Editorial CSIC, 2023. 209-230.

En este ensayo describo en detalle a qué me refiero con “ensayo material”, una práctica opuesta al discurso tradicional académico, y describo dos propuestas: el concepto de la exposición de literatura digital como una escritura material, y mi práctica creativa personal. Sobre esta última, analizo dos de mis colecciones tempranas de poesía online, parte del proyecto #selfiepoetry (Fake Art Histories and the Inscription of the Digital Self y WOMEN & CAPITALISM) que, aun siendo experiencias poéticas sobre la mujer en el medio digital, entiendo como investigaciones críticas donde explorar la voz electrónica. Una voz material, poliédrica, subjetiva, femenina, que nos ayude a proponer modelos alternativos al discurso académico estándar; una práctica crítica alternativa que yo entiendo, esencialmente, como ensayo material y femenino.

  • “Materialidad digital, algoritmos y otras abstracciones modernas.” Escrituras hispánicas desde el exocanon. Daniel Escandell Ed. Madrid: Iberoamericana-Vervuert, 2022. 23-35. GET BOOK HERE

Aunque pueda resultar paradójico, la materialidad de los objetos digitales está basada en un proceso de abstracción (inmaterial) matemática. Como explica Katherine Hayles, esta materialidad puede resumirse como aquello que emerge de la relación entre sus cualidades físicas y sus mecanismos significativos. La abstracción del cuerpo (y del mundo material por extensión), por su parte, es la condición y el proceso necesarios tras las conceptualizaciones modernas y posmodernas de la idea de progreso. Desde las grandes narrativas sociológicas de la modernidad (Émile Durkheim, Max Weber, y Georg Simmel, entre otros) vemos cómo la modernidad fue asimilando la abstracción y la racionalización de la vida social (así como de recursos y vidas no-humanas) a través del concepto del capital (el dinero) para facilitar su traducción a cantidades cuantificables. En este capítulo se explora la relación entre la idea de abstracción moderna y su aplicación contemporánea en la vida (económica, social, material) a través de algoritmos digitales analizando tres ejemplos de literatura algorítmica y su relación con literatura tanto pre-digital como anterior a la i­mprenta moderna: : The Hidden Life of an Amazon User (2019) de la artista catalana Joana Moll (2019), Amazon (2019) del mexicano Eugenio Tisselli, y 8 minutes, 46 seconds (I can’t breathe) (2020) del argentino Milton Laüfer.

  • “On Bodies, Surveys, Virus and Rooms: Enter Corporate Poetry” in Texts of Discomfort. María Cecilia Reyes and James Pope, Eds. Carnegie Mellon ETC Press, 2021. 250-281pp. FULL TEXT HERE

In this essay I contextualize and elaborate on my Corporate Poetry project, talking about its three main rooms (#1, #2 and #3) as well as backrooms #2 and #3, created with the collected data from Room #2. Through a series of interactive “rooms,” these works repurpose the language of a variety of online forms and platforms (Google Forms, Survey Monkey and Zoom) in order to domesticate the neoliberal intent of these data gathering technologies. These poems intervene the kind of corporate language expected in these forms by bringing attention to that other corpora that is our bodies. This way, the poetic surveys regain a surprising type of corporeality that engages our embodied reality while making visible the digital infrastructure that is unintentionally brought into our homes whenever we participate in an online survey or take a video conferencing call. In a time where measures to contain the global pandemic are forcing citizens to shelter in their homes, these works illuminate a new dimension of our everyday confinement. Further, and although it may sound counterintuitive, the destruction of natural resources and human life (i.e. pandemic) is directly related to the evolution of digital technologies that project a perverse sense of immaterial existence. By rethinking the materiality of digital languages these poetry rooms aim to further disjoint that relation.

  • “As We May Think/ Escribir es escribir como si escribiéramos en presente” in Fobias – Fonias – Fagias. Escritas Experimentais e Eletrónicas Ibero-Afro-Latinoamericanas. Claudia Kozak and Rui Torres, Eds. [Coleção Cibertextualidades]. Porto: Publicações Universidade Fernando Pessoa, 2019. FULL TEXT HERE

Departing from Vannevar Bush’s seminal article “How We May Think,” this essay proposes (while building on and exploring in itself) the application of digital logics and network mechanisms to the structure of traditional essay writing. It asserts that the print logic that is embedded in most of our thinking makes our reasoning to be out of sync with the kind of technological development behind the world it is set to analyze, creating a sort of temporal hitch. Together with Adelaide Morris (and before her, poet Gertrude Stein) I propose poetry and the poetic essay, as a way to circumvent the logical glitch that is always enacted when using past technologies to reflect on the present with hopes to envision the future. More concretely, this essay explores the possibilities of applying digital logics to poetry (i.e.: writing digital poetry) to enact the true potentiality of a writing that is synchronous to the ways we think at this present moment.

  • Co-authored with Élika Ortega. “Toys and Toons: From Hispanic Literary Traditions to a Global E-Lit Landscape” (Co-authored with Élika Ortega) in Electronic Literature as Digital Humanities: Contexts, Forms, and Practices. Dene Grigar and James O’Sullivan Eds. Bloomsbury, 2021. FULL TEXT HERE

Co-authored with Élika Ortega, this chapter explores the deliberate and problematic construction of e-lit works which, though cemented in the Hispanic literary canon, reach out to a landscape of global e-lit. We tackle two examples: Belén Gache’s Góngora Wordtoys (2011) and Benjamín Moreno’s Concretoons (2010). In these works, both writers have established a manifest connection between their e-lit production and two of the most celebrated periods of the Hispanic tradition: seventeenth-century Baroque, and twentieth-century Avant-Garde (Concrete poetry).

  • “El ensayo material: Sobre la práctica de una escritura digital [femenina].” Mujer, arte y tecnología. María Goicoechea and Laura Sánchez Eds.(forthcoming)

Understanding that works of e-lit have their own particular form of expression, materiality and rhetoric, this chapter proposes the Exhibition and the Performance of creative work as two fitting alternatives to producing scholarship on the matter. After discussing the importance of materiality and media specificity in digital production, I contextualize the e-lit exhibition, No Legacy || Literatura Electrónica, and my own #SELFIEPOETRY, as examples of “material discourses” which closely resemble their object of study. Finally, I wonder if the practice of exhibiting and performing creative scholarly work can be posed as a type of feminist scholarship.

  • “Por qué Dolerse. La relevancia de un texto híbrido” in Rivera Garza, Cristina, Special anniversary edition of Dolerse, textos desde un país herido. Condolerse.México DF: Sur+, 2015

This chapter—published in a special edition of Cristina Rivera Garza’s Dolerse: Textos desde un país herido on the Mexican war on drugs and its radiating violence—explores text in relation to two types of bodies: the textual body and the physical, human body. Using a broad biopolitical framework, I explain how the hybridity of Rivera Garza’s text materializes the physical nature of her digital poetry in the body of a book, while, in turn, incarnating the need to bring the invisible Mexican war back to its physical—thus visible, thus painful, thus actionable—dimension.

  • “Carmen Martín Gaite: Una provocación desde la cultura digital” Hispania 98.4 (2015): 674-675 -FULL TEXT HERE

This short essay, part of a special feature on the work of Spanish writer Carmen Martín Gaite published in Hispania, “Carmen Martin Gaite, in the 21st Century: What Defines her Legacy?,” seeks to reevaluate her non-fiction writing, her notes on literary criticism published in El cuento de nunca acabar (1983) and her Cuadernos de todo (1961-9?) together with her visual collages such as Visión de Nueva York (1980), putting her forward as a pioneer in the practice of creative writing techniques like copy & paste and remix, popularized today by digital culture.

Other (Academic-ish) Writing

  • “What Is a Book? 101 Responses,” Amaranth Borsuk, Ed. Short definition in American Book Review 41 (July/August 2020): 4-26 -FULL TEXT HERE and Website Project HERE
  • “Sore Thumbs”, invited blog post, Arts Research Center. 4/14/20 – FULL TEXT HERE
  • “Una literatura desbordada: libros de escritoras publicados solo en formato digital” Lista Arcadia 2019. Revista Arcadia: Periodismo cultural narrativo. 12/8/19 – FULL TEXT HERE -Pre print version HERE 
  • “¿Qué es ciberpoesía? (video essay) in Campos Fernández-Fígares, M. & Escandell Montiel, D. (eds.) (2019). Poesía en red y ciberpoesía. Alicante: Fundación Cultural Miguel Hernández – FULL TEXT HERE
  • “Notas para una charla imposible sobre literatura electrónica.” Máquinas de inminencia: estéticas de la literatura electrónica. Roberto Cruz Arzabal and María Andrea Giovine Eds. México DF: Lleom/UNAM, 2019 (forthcoming)
  • “Material y sustancia”. Introduction to Fricciones, by Maricela Guerrero. México DF: Centro de Cultura Digital, Secretaría de Cultura, 2016 -FULL TEXT HERE
  • “El robot que escribía cartas de amor” in Matador. Revista de Cultura, Ideas y Tendencias 1995-2022 (S-Futuro, 2016): 130
  • “Ejemplo de cambio de paradigma estético contemporáneo” in Carrión, Jorge, Crónica de viaje (Remake), Badajoz: Aristas Martínez, 2014

Reviews/ Critical Commentaries

  • “Nuevas poéticas y redes sociales: joven poesía española en la era digital.” Journal of Spanish Cultural Studies, 22.4 (2021). -FULL TEXT HERE
  • “A review of Emblem/as, a work of electronic literature exploring personal and geographic cartography, created by Tina Escaja.” Reviews in the Digital Humanities, 2.6 (2021) -FULL TEXT HERE
  • “Cultures of Anyone: Studies on Cultural Democratization in the Spanish Neoliberal Crisis by Luis Moreno-Caballud. Review by Alex Saum-Pascual.” Revista Hispánica Moderna, 72.1 (2019): 122-125 -FULL TEXT HERE
  • “Narrativas mutantes: Anomalía viral en los genes de la ficción. Mihai Iacob y Adolfo R. Posada (eds.).” Revista Caracteres, 4.2 (2018): 163-168 -FULL TEXT HERE
  • “Cuando cualquiera escribe. Procesos democratizadores de la cultura escrita en la crisis de la Cultura de la Transición española, por Luis Moreno-Caballud” Journal of Spanish Cultural Studies, 15.1-2 (2014) -FULL TEXT HERE
  • “Dorwick, Thalia, Ana María Pérez Gironés, Marty Knorre, William R. Glass and Hildebrando Villarreal. ¿Qué tal?: An Introductory Course” NECTFL REVIEW. 63 (2008-2009): 117-120