Michael J. Maguire (also known on-line as clevercelt) is an independent professional writer, playwright, screenwriter and digital creative with a diverse and unconventional educational background in engineering, electronics, theatre, creative writing and new media. His personal creativity spans over thirty years; writing, designing, directing, staging and producing various forms of static, live, filmed and electronic entertainments. Mick has consulted, worked with and for, many innovative European digital media start-ups and both major platform holders in the computer console games industry. His central preoccupations since the C64 and IBM PS1 have been technological creativity and creative technology. His intersecting interests include music, poetry, narratology, transliteracy, animation, net-art, alchemy, video, humor, cybertheatre, complexity theory, spirituality and an encompassing circular venn diagram of community, creativity and computer science and comedy, all of which conveniently lacks any valid theoretical cohesion.
…as a middle, aged Irish father of three sons, often dismayed at the myopic ignorance presentism engenders in many of today’s educational and commercial gate keeping authorities and entities, their digressions and failures to absorb the genuine significance of electronic literature, the relationship between future freedoms of expression, universal understanding and oroborus like difficult concepts successfully challenging simplistic interpretations of individual expression using any end…
Mick’s comic digital fiction experiment, Bob Casio’s Dead Cameraman; can be found here: www.clevercelt.com/Bob.html, part of www.clevercelt.com – which connects lots of blogs and bytes and pieces of Mick’s writing but which is always in a state of healthy comedic flux.
His solicitor suggested creating this site: www.michealjmaguire.com.
Additional Comments on how playwriting influences his work in Digital Literature:
“Promise” is partially autobiographical and as such it explores the role of different aspects of belief for this playwright. It's structured to flaunt elements of the well made play convention, it essentially has four pretty similar acts offering a vocal style of writing based partially on vernacular and common speech patterns, partially to reduce formality and serve the didactic impulses of this author but also to support an alchemical agenda of interior development versus external perceptions.
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