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[…]novel twist: we thought we were doing something good. We were going to make it easier for people to communicate with government officials. The idea was that while you were e-mailing your congressman, we would be serving you an ad, and ultimately taking a modest fee for our part in rejuvenating the Republic. As a business case study, there’s no point in studying E-The People. We were like a thousand other dotcoms – long on ambition and confidence, short on almost everything else. (Even calling us a business is kind of a stretch: we never even had invoices until our […]
[…]of handling constructivist concepts. By constructivist concepts I mean concepts with implications for materials or for practical operations in time and space. Such concepts emerged in the technological economy produced in practice by the Industrial Revolution, and supported in theory by the science of mechanics. This modern capitalism throws itself forward into concepts which are emerging from practice. Islam does construct novel financial manipulations, but the motive emerges from religious qualitative values, not from quantitative or functional financial values. In Islam, money must not beget money in the form of interest, yet a profit is allowed on a transaction in […]
Stephanie Strickland’s latest publication is indicative of “bridge” work increasingly apparent in publications by poets who seriously use computer technology to present writing in traditional and experimental formats. Strickland, who has published hypertext poetry on diskette and CD-ROM, is a leader among these figures and here works inventively with the printed form and its digital counterpart. This self-proclaimed “invertible book with two beginnings” has two particularly unusual features: the halves of the book are printed in opposite directions, so instead of reading front-to-back we read front-to-middle twice and proceed onward from there, as at the V of the book is […]
[…]things “hypertextual,” Joyce, by his own cryptic admission, has said that he “no longer find[s] satisfying factors in its shifting features” (Othermindedness 3). His aversion to the WWW and its “empty room rhetoric” (52) is of course no secret; and the image of a pile of stones effectively marking his online absence is suggestive, though I can only guess what it’s supposed to suggest. In Of Two Minds (233) and in Twilight, A Symphony Joyce invokes the following fragment, “Atom recalling granule, granule stone, stone the great mountain, mountain the first home.” If nothing else, then, the diminutive stone mountain […]
[…]art that marks class and an aesthetic of Internet art that demands political participation. To force political interaction into the artistic experience, Amerika constructs hypertextual works that require the audience to participate by making choices: to click or not to click into the virtual. Amerika’s art embodies the advice of the late (h)activist Kathy Acker: “The only reaction against an unbearable society is equally unbearable nonsense.” To dramatize art’s servitude to bourgeois values, Amerika morphs himself into a commodity to be bought and sold. His entrepreneurial fervor pervades his art ad nauseum as he anticipates that the most astute members […]
[…]and reconstitutes them as structured internal elements of its own encompassing logic…. [T]he result has been the production of fragmentation, insecurity and ephemeral uneven development within a highly unified global space economy of capital flows.” David Harvey, The Condition of Postmodernity (Oxford: Blackwell, 1989), pp. 294, 296. The teachings of the classic liberal arts traditions have little room to grow under the high-tech performativity norms embedded at the core of this flexible accumulation regime. When articulating the norms for this regulatory regimen, as Lyotard asserts, “the State and/or company must abandon the idealist and humanist narratives of legitimation in order […]
[…]that are momentarily stabilized in human devices. And “technologies” here are not just the latest machines for sale, or the instruments and infrastructures of science, but the cultural refinements of skills and tools, extensions of human bodies and minds with which we and the world are continually reshaping in complex interconnecting agencies. “Writing technologies” are the objects of study, but “writing” technologies is also the process of engaging these objects. Story-making, story-telling, and the analysis of stories are pivotal in the various versions of the course I keep teaching, now over fifteen years. I have always had students make stories […]
[…]in HTML. Thus, in The Blake Archive ( http://jefferson.village.virginia.edu/blake) it is possible to search on all images that contain representations of angels. The search can be further refined to return only those images in which angels appear with ‘dark-skinned’ children. The Blake Archive allows searching on text or images. The image search is based on a list of metainformation terms devised by the editors that categorize Blake’s work through four main rubrics: Animals, Vegetation, Objects and Structures. The text search allows for plain text and Boolean searches, as well ways of refining those searches by, such as limiting a search […]
[…]exploration of an interest, instead of as an obligatory duty that must be performed in order to complete an assignment. As a model of passionate writing, we review a number of fan sites and Web logs on the Web. The fan site provides a model for online research; some of the most useful resources on the Internet are created and maintained by dedicated enthusiasts. Fan sites are the antithesis of the plagiarized essay or the bought term paper. They are written, produced and maintained out of a love of the subject matter; a love that is none other than the […]
[…]term for the interplay of family, school, entertainment, and labor. Just as the popcycle fosters comforting illusions of personal liberation within free market society, so the Internet reproduces such costly “freedoms” at speeds hitherto unknown. Yet by raising deep-seated psychological drives to conscious awareness through the visual apparatus of the Web, the FRE formulates a potential mode of resistance. In uncovering the “repressed” of net-surfing culture, the Ensemble makes unspoken consumerist values available to deconstructive analysis. Subjectivity, according to Antonio Negri in his “Twenty Theses on Marx,” is itself deconstructive. “Auto-valorization and sabotage are the double figure of one and […]