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[…]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 […]
[…]angriest invective at the other members of the academy who failed to drape around the title of his latest book the garland of a rave review” (Lapham 9) rather than protest what he sees as the decline of American democracy into a fascist regime. Indeed, Lapham strikes the mark with his broader point, borrowed from Eco: language can, and often does, serve a pointed, historical purpose. To resurface that language with the patina of the cliché can imperil the astuteness with which we view our present. By relying on caricatures that are absolutely, clearly “not us,” Americans can easily overlook […]
[…]signification, connotation, and denotation do not apply? Is “Hello World,” a rite of passage into computer languages, the beginning of a literacy constrained by restricted interpretation? What would happen if we began to interpret the meaning of the code? Making the Code the Text In his posting on the electronic book review, “The Code is Not the Text (unless it is the text),” John Cayley argues against a common notion in new media scholarship, that computer code is the text that we, as humanities scholars, study. According to Cayley, the figure of “the code-as-text,” or computer code as the object […]
[…]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 […]
Steve Tomasula’s latest book, The Book of Portraiture, published by FC2, continues his project, begun with VAS and IN & OZ, to reshape the novel to accommodate technology, artistic, social, and sexual history. The Book of Portraiture is a cunning reply to the historicity that demands a response. Using the formal innovations of postmodernism with a naturalistic treatment of historical conditions, Tomasula has composed a nearly comprehensive text that shows us the stakes of making art in the 21st Century. The novel is composed of five chapters that are as much thesis as plot, from the first, which narrates the […]
[…]again concealed, it awaits its Champollion and his avatars, as well as unknown feats of invention to come. On that visit to the British Museum in 1999, for some reason I find now unfathomable, I failed to actually buy this sublime block (perhaps it was the £3.99 price tag). On a return visit to London in 2000 I made a pilgrimage to the British Museum in the hope that this stellar object would still be available, no doubt made more precious by the passing year. To my absolute delight I found it in a basket of remaindered items. Lisa Gye […]
[…]by itself. Then again, there is no way to make such a lesson easy. For what Livingston is trying to communicate is still partly incommunicable, at least by the lights of the Foucauldian model that undergirds the whole historical argument of the book in spite of the third degree to which, on occasion, Livingston submits Foucault. Some things cannot be fully articulated or even clearly thought because the episteme, or the discursive ecology, does not allow it. Nevertheless, for Livingston we are at an historical juncture where the evidence is persuasive enough to hazard the announcement: the modern episteme is […]
[…]of standardization, given the longevity of the series. The CoC rules, preferred play styles, and formalist tendencies of the published scenarios seem to work against opportunities for imaginative play that underpin traditional RPG formats. The Keeper’s creativity appears to be restricted, and the players lack the motivation for long-term investment in Investigators who are, as Hite claims, “doomed to the same fate as the hapless narrators of ‘The Call of Cthulhu’ or At the Mountains of Madness.” Instead, the drive for knowledge of the Cthulhu Mythos is the prime gaming factor, built into the cornerstone sanity rules and working in […]