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[…]his theoretical commitment, his expressive style, his moral and political posture in the world” [7]), the task of constellating the relation becomes necessary. The book’s very premise thus challenges what one understands by ‘influence.’ Influence in its traditional sense cannot account for the case of Constellation because the identity of what is to be related cannot be taken for granted. The relation takes place beyond the unity of intention necessary for one to be influenced by a second. McFarland’s approach to Benjamin exceeds him insofar as it cannot simply rely upon his intentions as its final touchstone. More decisive still, […]
[…]shocked players as their avatars took physical damage – or employ “deconstructive techniques [to expose] the greater functioning of game mechanics and their true, or hidden, power over players” (Cannon 56). Cannon’s reading of videogame art as politically defamiliarizing is certainly fair, but this explanation does little to distinguish these works as art from, say, propaganda, pedagogy, or the kind of design manifesto in a program like USC’s. While we may agree or disagree with the videogames’ politics, we are given no sense of the ways in which these politics might inform their aesthetics. This blindness to aesthetic distinction in […]
[…]Poetics) Tempest, like Funkhouser, indicates his work draws on translation. Though he is more comfortable being described as a “translator” (Tempest 115) and sees the goal being to provide a translation from a digital medium to a non-digital medium. He does not view the production process as either creative or destructive. Funkhouser, on the other hand, views the transcreation process as creative destruction, cannibalism even. Conversely Tempest views the resultant words “as derived from illusory objects with inherent, if not immediately apparent, real poetical content” (115). Both publications present us with poetry derived from digital objects. Tempest is returning it […]
In the opening to Fictions of Fact and Value, Michael LeMahieu argues that logical positivism, “[m]ore than either existentialism or deconstruction . . . defined the philosophical problem field out of which ‘postmodern’ fiction emerged” (2). More specifically, the influence of logical positivist philosophy on writers and literary critics alike engendered the central literary preoccupation of the postwar era: the fact/value problem. Critics and theorists in most literary circles perceived logical positivism as the scientific and empirical “death” of “imagination as metaphysics” and took Ludwig Wittgenstein as the philosophy’s primary representative (LeMahieu 1). Yet as LeMahieu points out, the rejection […]
[…]text, as the author frames it, should be read “in spasms” of “bite-size modules that link to form aggregates.” The challenge of the poet’s undertaking: to write a print novel about digital literature, is cleverly met with the refusal to construct a traditional academic text. Instead, Johnston composes a compendium of notes that deliver his argument in fragmentary, forum-like, parts. The short sections and concentrated focuses of the book make it easy to parse, like an index or dictionary for the practicing reader. A resource first and foremost, the text is a theory of ontological poetics if read in aggregate. […]
[…]light of this definition, we may see that for-profit, commercial corporations are simply the latest species of a genus that has existed for some fifteen centuries and that has included (and still includes) churches, kingdoms, towns and cities, representative political bodies (Parliament was understood to be a corporation in the sixteenth and seventeenth centuries), guilds, and, today, unions and many other types of groups. Indeed, for-profit, commercial corporations have crowded out the range of purposes and values that once motivated corporate groups in our political imagination, including groups organized for purposes we would recognize as public rather than private. In […]
[…]landscapes interleaved with domestic American environments such as a boy’s bedroom, a back yard comfortably contained within a white picket fence, as well as a kind of mosque-like space. Clips from the work can be viewed at http://www.crchange.net/hearts-and-minds/. Scott and I first met in Chicago in 1998 when he was a graduate student at the Universty of Cincinnati. We were put in touch with one another by his then dissertation director, Tom LeClair. We met near my apartment on Division Street in the Wicker Park neighborhood at Leo’s Lunch Room (now long gone). Scott showed me some scribbled documents he […]
[…]to a digital culture’ (Hillis Miller 2001: 58). Derrida’s position seems not dissimilar: ‘[A]n entire epoch of so-called literature, if not all of it, cannot survive a certain technological regime of telecommunications’ (1987: 197). In other words, the turn towards the digital ‘absolutely brings to an end literature’ (Hillis Miller: 2001: 58) by ‘transforming all those factors that were its preconditions or its concomitants’ (59). If the digital puts literature in crisis, then electronic literature is a – or the – limit case of literature in the digital age. It manifests that which may announce the end of literature, but […]
[…]Companion to Video Games Studies (2014), which boldly proclaims on the back cover to “provid[e] students, scholars, and game designers with a definitive look at contemporary video game studies” (emphasis mine) includes neither a reference to sexuality or queerness; the very words queer, homosexual and trans don’t even appear in the book, while lesbian is mentioned once in that 544 page volume. My intent is not to chastise, nor to quibble with an ill-phrased marketing blurb, especially since the book is indeed comprehensive in many other respects, and a worthy addition to games studies scholarship. The entries on “Femininity” and […]
[…]back, her old friends Catherine Texier and Lynne Tillman were publishing their first novels […] to much acclaim.” (Kraus 238) On page 240 to 241, she however quotes a letter to Ira Silverberg from 1986 in which Acker complains that Grove is not paying for her tours. These two segments need to be read in context, because Acker herself admitted that she made no money off her books but did get 1500 to 2000 dollars per performance (Acker “Astrologist Conversation 3” Side A 0:21:23), something also mentioned at her reading at the Phoenix Bookstore in 1993 without precise mention of […]