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[…]these processes of rendering, by emphasizing alternately either the cultural existence of animals, to combat the notion of an inert, predisursive natural existence, or the corporal character of capitalism, which cannot be abandoned, whatever its dreams of escaping animality to become pure culture. In particular, to split capitalism from its naturalist pretensions, Shukin goes after the simplistic equation of animals with timeless nature and unthinking instinct, since animals are the go-to avatars for advertising, and advertising is where capitalism thinks and sells itself. Shukin’s targets include cell phone advertisements using digitally rendered caricatures of Canadian Beavers, at once the jolly sign […]
[…]can read the titles), we can see clusters emerging around certain genres of electronic literature. For example, on the left we see a cluster of dissertations on interactive fiction, shown in the detail view in Figure 3. Nick Montfort’s 2007 dissertation Generating Narrative Variation in Interactive Fiction cites a range of works that are not cited by other dissertations, but also many that are cited in Jeremy Douglass’s 2007 dissertation Command Lines: Aesthetics and Technique in Interactive Fiction and New Media. Montfort has one shared reference, Anchorhead, with Van Leavenworth’s 2010 dissertation The Gothic in Contemporary Interactive Fictions, which also […]
[…]solution back in the equation, and then solving it again. Iteration, you see. – Tom Stoppard, 44 [I]n order to understand geometric shapes, one must see them. It has very often been forgotten that geometry simply must have a visual component – Benoit Mandelbrot, quoted in Holte 1 Figure 1: screen shot slippingglimpse The first screen of slippingglimpse beckons “select one to start.” Select which and what, and where do I start anyway? Back to my starting point, selection that is. select one to start: Or the dual act of reading as a selecting gesture, […]
[…]destructive projectile, as shown in the description of the bombing of Lübeck on Palm Sunday. “[H]ere was the Angel: ice crystals swept hissing away from the back edges of wings perilously deep, opening as they were moved into a new white abyss…” (151). “Idealism is no good,” Pynchon once noted, “a concrete dedication to an abstract condition results in unpleasant things like wars.” In Africa’s Kalahari desert, Weissman starts a sexual relation with a young Herero boy who will, during and after the war, roam the German Zone as part of the mysterious “Schwarzkommando.” Weissman, “in some sentimental overflow, some […]
[…]in Morgantown on June 20th to June 23rd. The contributors were organized by Stephanie Strickland to offer suggestions on how to improve the organization as it attempts to re-define its mission in a shifting cultural, economic, and technological landscape. Ranging from the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. As Patrick LeMieux and I drove to the Electrifying Literature: Affordances and Constraints conference at the University of West Virginia in 2012, we discussed the various issues we […]
[…]the environment. Virtual data approaching from the remote context on the screen are related to and coordinated with our basic, non-mediated perception from the physical here and now. Such a digital technology, provoking one’s hands on controls activity becomes incorporated in the experience and understanding of our being on the move. The focus on mobility and the corporeality addressed by it is close to the cultural shift in contemporary philosophy, where the linguistic, discursive and textual give way to the material, biological, life, event-driven, and post-political (Negri; Agamben; Virno; Thacker). By shifting the focus on life, biopolitics and the body, […]
[…]for all kinds of things. I use books as internal and external armor. I use them as can openers to open things that otherwise won’t open. In me and outside of me. Movies can sometimes do the same thing. I use movies like a coat hanger to break into the car door to my life.” Tupitsyn’s writing on cinema is neither clinical nor sentimental. It neither pretends to have a critical distance from movies, nor wallows in its enveloping effects. Both approaches leave cinema intact, by either pushing it away from the self, or letting it swallow it up. In […]
[…]This verdict holds especially in the case of literary theory and philosophical thought, since “[h]is works […] present an outright aggression towards philosophical theorisation” (1), as Eve notes on the first page. The parallel development of what issued forth in the academic circles of the 1960s and ’70s in the humanities and what eventually was termed “theory,” on the one hand, and, on the other, the onset of Pynchon’s trajectory as a novelist evidences, in Eve’s view, that “any hostility to theory within Pynchon’s novels must be recognized to some degree as an inherent part of the reflexivity exhibited by […]
[…]that has been generated by the scripts. In his acknowledgements, Montfort states that “[t]he poems printed in this book consist of computer programs followed by output from running these programs.” This, then, is a book of poems, produced and published by a well-regarded small press, one which has been making, in editorial terms, a significant investment in the conceptual literary practices that have all but entered the poetic mainstream in recent years, having already been warmly embraced by the art world. Craig Dworkin supplies a foreword in which he reads Montfort’s “The First M Numbers” as “a hilarious riff on […]
[…]contemporary science fiction, particularly depictions of Martian terraforming as “a step beyond [a] postmodern questioning of the natural” (468). Heise cites the work of Philip K. Dick, Margaret Atwood, Octavia Butler, and Kim Stanley Robinson as articulating worlds which portray “the emergence of new, synthetic ecologies that combine human and nonhuman, animate and inanimate, planetary and extraplanetary, biological and technological elements in such a way that these distinctions themselves gradually cease to perform meaningful cultural work” (468-469). For Heise, the science fiction worlds of these authors mirror our current moment in which we have come to understand that we may […]