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[…]glare in my face. I had, for whatever reason, decided that my reading of Michael Joyce’s latest hypertext fiction had come to a resting point, and it was time to mull over some recent criticism. Scanning through some online articles, my keyboard fearing for its life as my drink swept precariously over it, I settled on a title. Several paragraphs later, its author struck me with a sobering thought: “We really have to consider the question, if hyperfiction [has], in the ten years from Joyce’s Afternoon to Twilight come to the end of its road.” I promptly choked on a […]
[…]in the Age of Intelligent Machines (which says a lot); [Tim Luke on De Landa’s robot historian] and it is fully capable of surviving the advances from free-floating New Agers as well as the equally inevitable rebuffs from academic Old Agers. De Landa’s greatest strength, no doubt, is his ability to synthesize – to create a self-sustaining system of theories that are merged, as it were, into an intellectual meshwork. Here, however, a final irony emerges: in the concluding pages of Tristes Tropiques, Claude Lévi Strauss muses that anthropology – the science that informs one culture about another – should […]
[…]title of the book refers to the small “contact announcements” in the specialized press. is the latest book of a French author who is known in the U.S. as the author of Tricks ^4. English translation by Richard Howard, New York, Saint Martin’s Press, 1981 (First French edition: 1979). and the spokesman of the gay community in France, a definition Camus himself feels very uncomfortable with. To Bruno Vercier’s question in a recent special issue of Yale French Studies on gay and lesbian writing: “Do you consider yourself a homosexual writer?”, he answers that he “would find it annoying and […]
[…]by which such critical assumptions are to be transformed, however, complementarity comes down to compromise, and the mind’s participation in the observed environment becomes something neutral, an “awareness of interpretation as an interactive process” (6). What is missing from her effort to create a participatory textual reality is any description of the processes of mediation by which the literary mind and its textual embodiments engage with the real. And for this, criticism has little choice but to revisit questions concerning literature’s self-conscious engagement not with abstract “word-worlds” alone, but with the various media, visual as well as aural and verbal, […]
[…]and the volume’s rhetorical momentum is often driven by simple declarative clauses like “[b]y remediation we mean…” and “[b]y remediation we do not mean…” Though the cumulative weight of these phrasings helps remind readers that they are in the presence of two critics in full command of their subject matter, the repetitive stress on “remediation” also produces some odd moments, such as this one from the preface: It was in May 1996, in a meeting in his office with Sandra Beaudin that RG was reported to have coined the term remediation as a way to complicate the notion of “repurposing” […]
[…]Paul. Madison and St. Paul prove to be provocative stops for meeting special artists and citizens and for unearthing long unmentioned narratives. The fecundity of Chicago’s “blackness” overwhelms the author. Amazing and wonderful are Kenan’s narration of stays in Idlewild, MI, Grand Forks, ND, and Coeur d’Alene, ID. In Idlewild, the once premier black summer spot, Kenan relates that the resort town was at this time the “proving grounds: for African American entertainers and performers the likes of Bill Cosby, B.B King, Jackie Wilson, and many a youthful Motown act. Even further back, Kenan explains, the beauty of Idlewild was […]
[…]more to the point, and you will think so as you wait for your host connection, or wait for sound to download, a graphic to paint. What actually happens when one goes from a print to an online environment? Let me give an example from outside literature. Most of us remember card catalogs in libraries. Very roughly speaking a card catalog is a system with 3 cards for each physical book – author, subject, title. When that card catalog goes online, the book collection, as experienced, becomes enormously larger for the person who can search the electronic catalog. Each word, […]
[…]of hearing that what is heard comes from someplace, whereas what you can see you can look at…. [W]e are not accustomed to seeing things that are invisible, or not present to us, not present with us…. Yet this seems, ontologically, to be what is happening when we look at a photograph” (18). The idea here is that with the visual, the lines of determination, if one wants to put it that way, run from the subject to the object, to what we “look at,” and hence the magic of the photograph and of film is that our role in […]
[…]writing. What we see today is just the beginning of a development that will likely take many years to come to full fruition. We’re witnessing the birth of an entirely new kind of writing, one that has no close parallel in human history. The newborn I’m referring to is not hypertext per se but the computer programming through which it is realized. Though we often loose sight of this, computer code is a species of writing. Programming languages actualize procedures and principles rather than signifying objects or concepts. But their goal, like that of the natural languages we speak and […]
[…]hand, when he sets words to music, is to follow the prose rhythms of the text; there is no attempt to compose the words themselves to the desired musical rhythm, which was what the Greeks did. Thus the effect is likely to be quite different from Greek music. Not necessarily inferior, to be sure. But my impression, as one who studied these matters rather seriously at one time, is that Greek choral delivery must have been very measured, more like singing than intoned speech. A highly intelligible singing, yes. But that would have owed at least as much to the […]