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[ā¦]eliterary student-practitioner might ever think of doing. Whereas experimenting with the latest technology is very much in the eliterary student-practitionerās wheelhouse. Meanwhile, underlying all this practice, both literary and eliterary, is the problem of text. For in all this practice text is instantiated typographically. This is the default for all of us. But by text in this particular context, I mean the central object of Garrett Stewartās recent Book, Text, Medium: cross-sectional reading for a digital age (2021). This is text as something that is delivered by a physical medium but its essential and defining characteristic is being readable. It [ā¦]
[ā¦]wherein a view about reality, as soon as formulated, becomes invalid. Gaddis explains to Tom LeClair in an interview that both The Recognitions and J R are designed around Gaddisās ideas of āthe artistā as a āconfidence manā and of āa willing suspension of disbelief [ā¦]ā Such suspension should be the default position before engaging with any belief. But his artists, like Wyatt, ācon themselvesā by failing to āavoid the possibility of being taken overā by their āown fictionā (in LeClair, 20-1). Peter Wolfe states that fiction in Gaddisās worlds should be a āmeans to beneficial ends [ā¦]ā but the [ā¦]
[ā¦]mentioned. So, this is the thing that Iām interested in, and thank you for asking me about my latest research and connecting it with the work that Iām doing. For instance, thinking about this new digital narratives database, itās about also relaying information such that itās not forcing people into understanding conceptions of information that are not faithful. And maybe a good example of that is, for example, if I just had a list of contributions and critical works, I canāt and wouldnāt want to put a conference paper and a monograph as having equal weight, even if theyāre both [ā¦]
[ā¦]some people, some of whom I know, who were writers first and foremost, and then got really into computers. There are some people who were programmers, and either through collaborating with writers or for other reasons, they were like, āhey, I can do something connected to this.ā Thatās the case with the other arts as well, people in music and in visual art, and so forth. A lot of these people can identify, āthereās this one moment where I was an abstract expressionist, and then I was like, no way, Iāve got to do this computer thing, you know?ā But [ā¦]
[ā¦]these translations. I never studied Gaddis properly. Well, to translate one of his books, you have to study a lot about him in a way, yet not in an academic way so to speak. My suggestion was to come here and just listen to the others because I am very interested in this author but, anyways, it is like years ago. I am not sure I will be able to answer some of the questions but here I am. Marie Fahd: Thank you very much Mariano. Ali Chetwynd: Between the three of you, youāve translated everything apart from the last [ā¦]
[ā¦]stuff, itās exquisite. T: I served these at our last party, they were a smash. T: Itās the latest thing, youāll love it. G: (a bit muted) Oh God, Trip, pleaseā¦letās not go overboard with the drink preparation. G: (a bit muted) (slightly annoyed) uhhā¦you and your āhigh classā drinksā¦ G: (a bit muted) We donāt need to make a big production out of this, Trip. G: (a bit muted) Trip, letās not go crazy with the drinks, okay? G: (a bit muted) Now Trip donāt get too worked up with the drinks tonightā¦ āGraceCounterSuggestā for TensionLow and PlayerAffinityNeutral/Trip T: [ā¦]
[ā¦]become the bad guy. It is a pleasure to read Whiteās works, for a number of reasons. āThe Latest Wordā is, both intellectually and literarily, provocative and seductive. Take, for example, this excerpt: The ossification of reputations in Great Traditions is like the summer powwow to which white people flock in their minivans in orders to don war bonnets, paint their faces, and celebrate their genocidal āheritage.ā Ah! Beethoven! Ah! Jimi! Just more dead injuns. Further, it distinguishes itself from a lot of other more enthusiastic writings about literature and the web (in that sense we might ask whether White [ā¦]
[ā¦]āvulnerabilityā (140) as discoveries āreroute individual interpretive efforts and [lead] to group epiphaniesā (138). The result is a suspenseful book of literary criticism. Chapter one teaches the reader how to read media archeology, visualization and Flash. Chapter two excavates the tachistoscope as a media instrument and Flash as an authoring tool. In chapter three, Douglassās ācore samples,ā volumetric readings of Projectās screen output, segue into readings of the āoptical unconsciousā and the ādetritusā of Poundstoneās code, a materialist reading of authorial intention where .fla files [production files] are an āarchive of writerly process and intentionā (79). Chapter four, āSubliminal Spam,ā [ā¦]
[ā¦]repeatedly in the introduction to recognize the forerunners of the figures in the anthology: ā[t]he tradition of conceptual writing seems less like a movement (the avant-garde), or period (postmodernism), than an open-ended activityā (xv). Thus we are seeing current iterations of an ongoing practice or tendency, ones that seem particularly urgent or compelling, though Tomasula stretches to include āthree generations of conceptual writers at work, from canonical masters to authors the reader may be encountering for the first timeā (xviii). These writers are, to reiterate, largely unified by their attention to the mediatic form their aesthetic production uses. It is [ā¦]
[ā¦]to mental illness and immunological disorders, cathedrals of supercomputer engineering, insights into complexities from market turbulence to weather. But no literature? The omission of literary knowledge is glaring, or should be to people reading this passage while holding a printed novel in their hand. The offerings appear to have been less than satisfying for Powers. No sooner does he defamiliarize the net than he loses interest in it. Even in the most naively utopian of futures, when the First, Second, and Third Worlds are all hardwired and access to the web is universal and free to all, weād still have [ā¦]