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[…]At the same time, I wanted to show that, in many ways, what was being hyped by corporations as the latest thing in the digital domain was no more than a reworking of 19th century technologies, like the panorama or the zoetrope. So I also think of it as very much a critique of progress in the way that Walter Benjamin discussed. Just because a technology is new I don’t think it is better; digital cameras aren’t, per se, better than glass plate photography. It is just a different kind of apparatus that does different things. At the same time, […]
[…]of [Karl] Marx and [Zygmunt] Bauman’s ‘melting visions'” of modernity (252) and by “[a]pplying th[e] model” of memory proposed by Harald Weinrich (254) results in a view of memory that is less than earthshaking. By contrast, the essays that openly acknowledge that their intellectual connections are more coincidental than influential expose the weaknesses of their own arguments. For instance, when Rodney Taveria admits, in the context of a discussion of the fictional Andrea Tancredi’s similarities to the Futurist painter Luigi Russolo, that “[u]nfortunately, you cannot match the biography of Russolo to Tancredi beyond [a certain] point” (149), such honesty comes […]
[…]of screencasts of his performances in the Gallery section of his site. TOPLAP is at http://www.toplap.org. There are a number of interesting links on that site, including the full version of the Manifesto mentioned in the video. Here, again, are the points mentioned in AaTCaT: We demand: Give us access to the performer’s mind, to the whole human instrument. Obscurantism is dangerous. Show us your screens. Programs are instruments that can change themselves The program is to be transcended – Artificial language is the way. Code should be seen as well as heard, underlying algorithms viewed as well as their visual outcome. Live […]
[…]to try and establish its meaning. The preface to Digital Art and Meaning reads as a manifesto for hermeneutics. Simanowski emphasizes time and again the importance of the mind in understanding the mediated world and the mediated work. Reacting to critics like Roy Ascott, Hans Ulrich Gumbrecht and Susan Sontag, the author rejects the dismissal of the critic and pleads for an approach of art and literature that allows for the establishment of the “deeper meaning.” The belief in a deeper meaning, extracted from the work by a professional critic or educator, is surprising for somebody as versed in post-structuralist […]
[…]in Morgantown on June 20th to June 23rd. The contributors were organized by Stephanie Strickland to offer suggestions on how to improve the organization as it attempts to re-define its mission in a shifting cultural, economic, and technological landscape. Ranging from the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. From the sociological standpoint of collective behavior, there’s a crucial junction that every successful movement or group comes to in its lifetime: what do we (the movement or […]
[…]in Morgantown on June 20th to June 23rd. The contributors were organized by Stephanie Strickland to offer suggestions on how to improve the organization as it attempts to re-define its mission in a shifting cultural, economic, and technological landscape. Ranging from the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. My contribution to this discussion is going to be with a foreign accent and thus accentuating translation. The perspective changes indeed as one changes a geographical location. My […]
[…]in Morgantown on June 20th to June 23rd. The contributors were organized by Stephanie Strickland to offer suggestions on how to improve the organization as it attempts to re-define its mission in a shifting cultural, economic, and technological landscape. Ranging from the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. This video documents a presentation developed for the ‘Future of Electronic Literature’ panel at ELO 2012: Electrifying Literature: Affordances and Constraints June 20-23, 2012 Morgantown, WV The video was […]
[…]objects are in fact black monads, smooth globes of an almost infinite flimsiness [… and] might best be understood as ‘actual inexistents’ for as they span the advent they move into the realm of the actual, but in so much as they are immanently real they cannot ‘exist’ (in the sense of ekstasis).” Like these objects, the prose is, from time to time, “irresistibly dense and stubbornly opaque” (21). Structurally, however, Galloway’s book remains clear at all times and follows a useful, if ambitious, trail. Laid out in a series of theses, which are summarized at the end, the text […]
[…]“The Snow Man,” which has “a mind of winter” (l. 1), Emmet thinks of “nothing himself, [and] beholds / Nothing that is not there and the nothing that is” (ll. 14-15). Stevens’ poem productively indulges in what Bennett’s anthropomorphizing to underscore Heidegger’s explication of “the thing”—before either theorist offered their thoughts on (the) matter to the world. Much as the snow-man’s, Emmet’s is also a “mind of matter”: when prompted, he “beholds nothing”—a quality of empty-headedness that the movie both jeers and reveres. Contrary to Lord Business, whose plans rehearse the concrete and catastrophic tactics of modern capitalism, Emmet has […]
[…]the rise of “Theory” (the capital T by no means accidental), and “the death of the subject [and/or] author” (311). But it is the book’s crucial engagement with Foucault that sheds light on a critical bridge between the humanities and sciences. Foucault’s writing on techniques of domination across disciplines is anticipated by Thomas Pynchon, who is suspicious of the expression of the crisis of man discourse as a literary project and the transformation of this discourse heralded by technology. Pynchon’s The Crying of Lot 49 bids farewell to both; the novel’s formal literary experimental techniques and absurdist take on techno-futurism […]