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[…]of such long-unavailable early classics as Lubbock on Everything [1978], Smokin’ the Dummy [1980] and Bloodlines [1983] – all help clarify why, in one of my pre-Millennial lists, I rated Allen’s 1975 masterpiece, Juarez, as the greatest single album of any kind ever released. BECK, hip-hop-happy alt-rocker Beck has been the only American rock figure of the post-Nirvana era to develop an odd mixture of disparate parts – techno, punk, psychedelica, and folk – that shouldn’t cohere but do, into a distinctive sound that feels exactly “right” for the times; part musician, avant-pop-culture archaeologist, poet-lyricist – he may be the […]
[…]Thomas Pynchon, Kathy Acker). In a final chapter, Conte makes a strong case for understanding “[t]his disturbing transition between print and digital communication” in terms of chaotics (197). The word “disturbing” in that last citation is worth pausing over because it indicates a way of conceptualizing fiction as an ongoing concern, placing it politically, and deciding which fictions are successful inventions within a chaotic environment. Politically, the language of disruption and disturbance is an advance on “subversive,” “dissenting,” “radical,” or “resisting” – characterizations that either give too much or too little agency to authors and their works. A disturbance is […]
[…]understanding; they are dynamic conceptual tools; they represent a network of ideas that flow into and through each other. Disclaimer 2: Forget the Computer While digital media is certainly a primary vector in the momentum of interest that has led to this book, the phenomena we call games and stories — as well as play, narrative, and interactivity — predate computers by millennia. Computer media is one context for understanding them, but I’m going to try to avoid typical technological myopia by examining these concepts in a broad spectrum of digital and nondigital manifestations. Disclaimer 3: Defining Definitions For each […]
[…]to fill a need to share information (“data”) that was different in nature, format, and style. [ For a much different conception of a global informational network, albeit one that has yet to be put into popular practice, see the Home Page of Ted Nelson, eds. ] At the end of the RSIS was a “Visionary Panel Discussion: Science and Governance.” Most of the panel members who discussed the future of the Internet used outdated and outmoded terminology and paradigms, and I think they missed some of the inherent anarchic and democratic aspects of the Internet. Many of us felt […]
[…]majority of intellectuals choose to write. Graff laments the fact that bad academic writing “mask[s] its moments of clarity, bur[ies] its best sound bites, and coyly steer[s] away from confronting the all-important ‘So What?’ and ‘Who Cares?’ questions” (Clueless 136). In a tongue-in-cheek yet serious moment, Graff dares us all “to be reductive” not only in the classroom but also as a way to fight right-wing distortions in mass media outlets: “the pressure on academics to avoid being reductive, to eschew sound bites, to complicate as much as possible and at all times, clashes with the interests of good teaching” […]
[…]lists since 1994. Twelve Blue represents Joyce’s attempt to adapt his pioneering approach to composing hypertext fiction in Eastgate’s StorySpace software to the constraints of mid-1990s HTML. Ezzat uses Flash to layer audio files in Arabic and short fictions written in English by way of a strikingly simple clickable interface. Flanagan uses Processing to create a navigable architectural environment within which texts and geometric shapes unfold an autobiographical narrative. Holeton warps the familiar Web FAQ list into a wry meditation on hypertext authorship, identity, sexuality, and U.S. politics. Niemi’s Stud Poetry employs JavaScript to stage a poker game in which […]
[…]released the very sophisticated and intelligent “Google Will Eat Itself,” which “generate[s] money by serving Google text advertisements on a network of hidden Websites” and uses the money to buy Google shares, thus cybernetically turning the semantic capitalism generated by AdWords back into the capitalization of Google. The project currently predicts that taking over Google will take 202.345.127 years (http://www.gwei.org, 3 August 2006). In such functional terms, semantics should be predictable, controllable, and thus univocal, which rules out irony and the equivocal explorations of language normally found in poetry and poetic uses of language. Therefore, it is significant that the […]
[…]he began to conceive in 1960 as a network of personal computers with a user interface that “[a]ny nitwit can understand” (303). Instead of predetermined sequences, items, and teacher-driven conversations, Project Xanadu would allow students to move at will through conflicting materials. “Never mind optimizing reinforcement or validating teaching sequences,” Nelson advises. “Motivate the user and let him loose in a wonderful place” (313). Well ahead of the Apple II desktops produced in the late 1970s and early-to-mid 1980s, the hardware and software Nelson envisioned would store multiple versions of documents, display their differences, and encourage users to wander, leap, […]
[…]and unacknowledged ideology of that assumption of seamlessness [of history/fiction or world/art] and asks its readers to question the processes by which we represent our selves and our world to ourselves and to become aware of the means by which we make sense of and construct order out of our experience in a particular culture” (1989: 53-54). Strickland engages in postmodern re-appropriation of historical materials in V through evoking the life of Simone Weil. The evocation of Weil is not to provide one more interpretation of the specific events or figures in the past, but rather to insert them in […]
[…]anti-absorptive techniques, meaning gestures through which the reader is alternately drawn into and bounced out of the text being read. This anti-absorptive strategy is not unlike that of playwright Bertold Brecht, who proposed a concept of “Epic Theater” in contrast to Stanislavski’s naturalistic emotive Method. Others have noted these similarities before: in “After Language Poetry,” Jena Osman draws an explicit analogy between the Aristotelian model in theater and the epiphanic model in poetry, placing Bernstein’s work in the context of the anti-Aristotelian or Brechtian theater. The cornerstone of Brecht’s Epic Theater became the “Alienation Effect” or Verfremdungseffekt, an approach to […]