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[…]a kernel of optimism in the face of depressing world events—recent developments in regards to labor, the environment, etc. that continue to privilege the corporation and reduce the power and influence of the individual. We see evidence of this in our political elections in the Citizens United ruling that advanced the argument for corporate personhood. At any one time my attentions are being pulled in different directions—between for instance global climate change and housing bubbles. It is important for me to try to see culture as something that we actively participate in. Not as something that simply happens to us. […]
[…]what metaphysics proper could not achieve: self-possession. Such is the wisdom of Achilles and the Tortoise, as Lacan applied it to the human condition. Trump is a Joke, then, in a profound sense that is one of the probes of konsult obscenarios (alternative when STEM scenarios are condemned as hoaxes). Seltzer finds the Official World modeled in various “small worlds,” an application of mise-en-abyme structure (miniaturization, play-within-a-play) that is part of the genius of his heuretics. The three reenactment zones he foregrounds to model OW include the space of games, the scene of crime, the form of art. The theoretical […]
[…]land – on the job market and in publishing – between modernist studies and the study of the latest trends in literature. Witness, for example, the seeming temporal gap between two excellent book series in Columbia University Press’s current literary studies list: Modernist Latitudes and Literature Now. One use of postmodernism might be to address this temporal gap by bracketing off a part of the last seventy years, say, 1945 to 1990 or 1960 to 1990, depending on the historical or stylistic criteria one wanted to apply. To use postmodernism in this way no doubt risks perpetuating the failure of […]
[…]This edition of James Tiptree Jr.’s “The Girl Who Was Plugged In” comes with a vest that, “[b]y combining networked sensors and actuators, [ . . .] can change lighting, sound, temperature, chest tightness and even heart rate of the reader to match what the main character in the book is going through” (Hu). Of course, the students included a wonderfully ironic joke in their project by choosing for their prototype text a famous dystopic story (written under a pseudonym by Alice B. Sheldon) in which a woman lives her life through the body of a celebrity avatar. The comments […]
[…]With Andre (1981), a film in which regular dude Wally [Wallace Shawn] meets his old friend Andre [Andre Gregory] for a meal and learns of Andre’s decades long participation in wild drug and social/artistic experiments that didn’t exactly lead to enlightenment. But in light of Acker’s case, it’s more like: what if Wally and Andre never shared a meaningful dialogue and reached understanding, or what if Wally had never shown up and Andre just rambled on about people turning into trees and about the final collapse of art into life, which is hardly liberating? Andre—a true child of the ’60s—wholeheartedly […]
[…]the photographs are “deployed respectfully to generate mood and a sense of place,” when “[i]n reality, the characters and events and settings described in the text bear no direct relationship to the photographs.” (262) Mid-way into the text, a fictional “Publisher’s Note” informs the reader of the (fictional) origin of the photographs: Something else peculiar: inside the workbook, there was an envelope containing hundreds of photographic negatives. … It’s not clear to us how the Chaplain came into possession of the photographs or indeed whether he snapped some of them himself. Nor can we be sure how directly related they […]
[…]between research and researched. They make a provocative and important argument: datafication and open access should, in certain cases, be resisted. They champion the careful curation of data rather than large-scale collection of big and dirty data, pointing to the ways in which these data are used to construct knowledge about and fundamentally limit the agency of the research subject by controlling the narratives told about them. Rockwell and Berendt, drawing on Aboriginal Knowledge (AK) frameworks, amongst others, argue that some knowledge is just not meant to be openly shared: information is not an inherent good, and access to information […]
[…]sold three million copies worldwide and has been translated into twenty-five languages. NPD Group [formerly Nielsen Bookscan] reports 2,067,164 copies of milk and honey sold as of 9 January 2019. This figure does not include Amazon sales, which Amazon never shares. In 2017, Kaur’s second volume the sun and her flowers outsold #3 on the poetry bestseller list, Homer, at a ratio of 10:1. But the hits are not just by Kaur: Instapoets comprised twelve of 2017’s top twenty bestselling poets. That’s 60% of bestsellers in a publishing field that had been considered moribund. Instapoetry is definitely a #1 hit. […]
[…]an acquire reality. . . It is only in this artificial world that autopoetic creatures turn back to examine their own self-replicating orders and change them, deliberately and reflectively.” This would have to mean a dauntingly extensive transfiguration of our sense of ourselves in relation to all species, races, genders, ethnicities, classes as they are currently defined within contexts of economic expedience – a movement toward a planetary we that signals collaboration rather than zero sum competition. It’s an improbable, therefore necessary, vision. Purdy reminds us that the challenge we face is not a matter of politics and jurisprudence versus […]
[…]however, deformance entails “not a re-imagined meaning but a project for reconstituting [a] work’s aesthetic form” (28). Deformance explores a text’s interpretive dynamics via experimentation with its formal properties. The above sketch of recent accounts of reader-text relations traces a dynamic in which the interpretive entanglements of reader and text are haunted by a residue of fear, by the risk of failure. In this essay I seek to concenter a sense of fearfulness in order to reorient characterizations of the digital reading-condition away from assumptions of mastery toward risk, doubt, and fragmentation. “Deformance” as a concept, I argue, is particularly […]