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[…]– predominantly the domain of Continental scholars who have scoured catalogs and public records to compile vast stores of data on the demographics of reading from the sixteenth century forward – and further success with micro-analytics – the study of individual readers and their collections; Carlo Ginzburg’s Menocchio is the archetype here – we are still far removed from the cognitive seat of reading: “We do not even understand the way we read ourselves, despite the efforts of psychologists and neurologists to trace eye movements and map the hemispheres of the brain” (151). Darnton proposes five basic strategies for furthering […]
[…]alien to Austin, they’ve suppressed what was original in Wittgenstein’s and Austin’s idea. [For the critique of Derrida’s and Butler’s theatricalizing of Austin, see Cavell’s “Counter Philosophy and the Pawn of Voice” in a Pitch of Philosophy (Harvard UP: 1996), 53-127.] I prefer to call the effect of this literalizing the displacement of action. The idea is that the act of narrating—either writing or reading—displaces in our attention the action narrated, making our recognition of the former our means of access to the significance of the latter. In “Sade’s Mistress” this displacement occurs because the character is herself writing the text from […]
[…]ou une dramatization qui vaut pour toute intrigue”[which is worth the whole plot][250]. By exploiting the sophisticated play with narrative voice and focalization which the novel genre has developed in the course of his history, Joseph McElroy’s fictions dramatize the problematical gap between percept and affect, and between these and action or reaction. The effect is similarly to engender a narrative dynamic from unexpected associations of disparate pieces. A reading of Women and Men might perhaps best start from the sense that in this massive novel the unstable dynamic coupling of cognitive and (re)active forces reaches what remains its acme […]
[…]to comprehend how belief externalizes itself in material practices led “Enlightenment critics [to] misread ‘primitive’ myths” (6). By imposing their model of “literal direct belief” on people from tribal cultures, these critics regarded the myths as simply ignorant or naïve (6). Here, Žižek might seem to be making a basic relativist point: that we cannot judge adequately another culture’s beliefs from our perspective. But this is not Žižek’s point at all. If, on the one hand, Žižek rejects the subjective notion of direct belief because it exaggerates the subject’s autonomy and fails to account for the way we stage our […]
[…]factory and the skilled worker – for such a standpoint. Yet, capitalism’s increasing ability to computerize labor makes it difficult to identify an essence of human labor inseparable from machines that could provide a new site and subject. George Caffentzis’ “Why Machines Cannot Create Value; or, Marx’s Theory of Machines” demonstrates this dilemma. Caffentzis describes how Alan Turing’s machine theory breaks down the distinction between manual and intellectual labor, because it shows all positive aspects of labor to be programmable. Consequentially, the capacity of human labor power to create value must lie in a negative aspect. Otherwise, machines could create […]
[…]to warn us against the potential danger of reducing certain facets of language to idiom. “[I]t’s a mistake to translate fascism into literary speech,” Lapham, citing Eco, warns. “By retrieving from our historical memory only the vivid and familiar images of fascist tyranny (Gestapo firing squads, Soviet labor camps, the chimneys at Treblinka), we lose sight of the faith-based initiatives that sustained the tyrant’s rise to glory.” (Lapham 7) Certain skeptics, and maybe Lapham himself, would be unsurprised that “On Message” garnered far less attention than the more dramatically titled “How experimental fiction threatens to destroy publishing, Jonathan Franzen, and […]
[…]of the code is not a prerequisite. In response, Rita Raley’s “Interferences: [Net.Writing] and the Practice of Codework” refutes these unnecessary limitations. She compares Cayley’s privileging of the code (over the output) to Adorno’s “remarks about music as merely a consequence of the score.” As she explains, “codework does not suggest, nor does it need to, that code – the algorithmic score, the instructions that govern and produce the system – itself should be privileged.”Thus Mez’s works are valid codeworks because they play with the structures of code on the display level of the text. And yet for Raley, the […]
[…]Garden, with running commentary by Bob, or is it Ray?, Slow Talkers of America, or then again the tortoise beating the hare, Charlie Chaplin deranged by Taylorization, Marinetti writing odes to acceleration, Ozu head to head with Jacki Chan in Swift Justice: The Bonneville 500 Story, XT, AT, 286, 386, 486, Pentium 1, 2, you’re out. As if the choice were between the assembly line and the verse line. When I was 12 years old I enrolled in a summer Evelyn Wood speed reading course, lured by the image of the man who read a dozen books a day, itself […]
[…]Julia Kristeva, Revolt, She Said (131) Sampling is the best way, and perhaps the only way, for art to come to terms with a world of brand names, corporate logos, and simulacra. Pure originality is a myth, in any case; art and culture can only be made from previously existing art and culture. – Steven Shaviro, Connected (64) It’s a carnivorous situation where any sound can be you… – Paul D. Miller a.k.a. Dj Spooky that Sublimal Kid, Rhythm Science (008) I. Spins on Rhythm Science The work of Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid extends back […]
[…]books or alien pantheons. However, not all published Call of Cthulhu materials follow Lovecraft into complete materialism or into complete maltheism. Ghosts, vampires, and werewolves appear in the (non-Mythos) “Beasts & Monsters” section of the Call of Cthulhu rulebook (Call of Cthulhu 2004, 205, 209-210), and Healing spells appear in the “Mythos Grimoire” (Ibid., 237). Likewise, the plots of some published adventures more closely resemble those of Lovecraft’s successors than his own – beginning with the first published Call of Cthulhu campaign, Shadows of Yog-Sothoth, a globe-trotting chase reminiscent in pace and flavor of August Derleth’s linked story-series, The Trail […]