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[…]writers collaborate on it, to have it on sale at the home-base printer/bookseller’s store, and to send it to the countryside. Anyway, it’s an interesting question: is the fundamental gesture, the purpose, of ebr something like: “We have formed a City — international, selective, elective — where cool people gather and share; do you want to see the results of that activity? Do you want a News Letter from our city so that you have a better sense of What’s Going On?” Or is it more: “You’re a reader, but you need some advice about what to read next. Boy, […]
[…]aren’t flaunting someone’s great fortune. Bestsellers among business books usually explain the latest management motivation craze or advise the reader on some elegant route to success, but what does the bestseller list mean when a corporation orders 100,000 advance copies from its vanity press? Staking out the extremes of this genre are in-house productions and adversarial exposés. In Good Company, Eleanor Foa Dienstag’s tribute to Heinz (Warner 1994), and The Colorful Du Pont Company, P.J. Wingate’s song to the Du Pont dye division (Serendipity 1982) shed their complexity once they exhaust the reader’s inclination to learn more about ketchup or […]
[…]how it is neither (or not anymore) just about multimodality, it is rather about weaving the code into and through the tangible, the experiential, the elemental. Jessica Pressman insightfully sums up its way of operation: We read Circle by entering and interacting with its relational network of things. Hence Circle is about relationality: relations between human readers and analog objects, between these objects and the digital devices that scan them, between this transmedial format and the literary performance that it produces. For indeed it is relationality that moves to the very center of the experiential, spatial and atmospheric computation of […]
[…]May 1, 2000 by Olivia Block Seth Nehil and I arrive in the early evening at the Club Metro in Kyoto for the fourth performance on our Japan tour. Our hosts, a local abstract turntable group called “Busratch” have generously met us early for sound check. We have played three other gigs with them earlier in the week in other cities: Tokyo, Osaka, and Maibashi, hitching on to their regional tour. Tonight, Seth and I will perform our usual duo collaboration after Busratch performs. Makio, the one who seems to be the designated Busratch translator, is now leading us through […]
[…]artist, and Ray Johnson, a contemporary of artists such as Robert Rauschenberg and Cy Twombly, and composer John Cage, are linked aesthetically by art that emerges from an appreciation of materials that are utilitarian, disposable, and distinctly anonymous. The title of Wenk’s book, The Truth on Tape, accurately describes the artist’s singular obsession with his principal working material, scotch-tape, and attempts to set a precedent for smart publications developed by an artist and his gallery. Ray Johnson, known for his exceptional, albeit unorthodox, collages and mail-art pieces, was one of the special circle of alumni that emerged from the vanguard […]
[…]in terms of mass media; mass media, in turn, were conflated with television; and television, to top it off, was routinely denounced as the prime instrument of a culture industry bent on deluding, homogenizing, and Americanizing cultures that had hitherto enjoyed the lively interaction and emancipatory splendour of spoken words and printed books. To be sure, there are occasional echoes of this Frankfurt School-type regression in some of the contributions, but it is only fair to point out that the TV-fixation of this media special comes with good reason and turns out to be very fruitful. In their introduction, “After […]
[…]“norms” are usually not perceived by the reader. One only perceives them when one decides to study them or when one is struck by an irregularity (error or deviance). And given the fact they are systematic, norms apply to the text globally. Nevertheless, the global norm does not saturate necessarily all aspects and dimensions of the text, it only saturates the whole set of occurrences of one particular type of textual unit at least. This is what I call specific saturation of norms. The choice between the singular or the plural form, for instance, normally does not concern all the […]
[…]survived between an artwork and its viewer: “To perceive the aura of a phenomenon [means] to invest it with a capacity to look at us in turn.” There is thus something magical about aura, derived from ancient links, now wandering between art and religious ritual. Benjamin first speaks of aura in his Little History of Photography (1931), where he attempts to explain why it is that, in his eyes, the very earliest portrait photographs – the incunabula of photography – have auras, whereas photographs of a generation later have lost them. In “The Work of Art,” the notion of aura […]
[…]“last line of defense,” has been “to make narrative fiction more ‘digital’ and thus able to compete with digital media in the battle for an increasingly dissipating audience” (Vitas). Few observers of the scene ever thought it likely that such resistance would be effective over the long term, as the writers themselves went on in their careers “galloping in a dozen directions at once” (Sterling, cited by Frelik). A more cogent argument, advanced by critics versed in cognitive psychology and media discourse theory, holds that literature is more successful when it emphasizes its medial otherness – its stability in print, […]
[…]properties of the prior level, even though there is an unbroken line of inheritance from bottom to top, and even though there is always a part/whole relation between the levels. In the transition from any one of these levels to the next, not only is the whole greater than the sum of the parts, but the emerging qualities feed back on the parts and give them qualities they couldn’t have if isolated. Electrons, for instance, indistinguishable at the particle level, become individually important at the atomic level under the Pauli exclusion principle. Individuals exhibit consciousness, a property equally unknown to […]