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[ā¦]old and the new. Unlike the stand-alone novel, or a feature film, which presents itself to us in toto, the serial offers constantly the promise of the new ā the new installment next week or next month, often bringing with it a new plotline or character that will change everything. Given its leisurely unfolding, however, the serial also draws us into the past, as old characters appear and disappear, as old green covers pile up by our nightstand, or old episodes of a program burrow into our memory, creating a history commensurate with our lifespan, unlike the merely posited past [ā¦]
[ā¦]in the past,ā for Levinas we need to pay attention to āa role in the production of meaning [for] the reader of the textā (87). Thus the relationship between the text and the reader is a two-way solicitation: āthe reader solicits the text with his or her current interests ā¦ and is ā¦ solicited by the text to an exploration of meaningā (87). Key to Levinasās interpretive methodology (or to Davisā summary of it) is the notion of surplus (which can be connected to Derridaās remainder or Lacanās objet petit a): the āTalmud contains a surplus of meaning, which ensures [ā¦]
[ā¦]is in time to the reflection of your own thinking and again gripped in the sentence, as if ā[t]wo different ways of same event happening simultaneouslyā (āParticle of Differenceā 258) and you ask yourself, how does he do this? Itās not just the syntax that seems to move in reverse, or rather peaks to lilt and recede like a wave, always looping back to where the sentence started which is another place in the mind. Always looping back toward a more precise articulation of the question it proposes rather than leaning toward the period as if it were an answer [ā¦]
[ā¦]in which he examined the history and folklore around flying objects and close encounters. His latest book with Chris Aubeck is called Wonders in the Sky, a catalog of 500 reports of unusual aerial objects. Their subtitle is necessarily as long as their ambition is large: Unexplained Aerial Objects from Antiquity to Modern Times and Their Impact on Human Culture, History, and Beliefs. They have made every effort to weed out hoaxes and reports with inadequate documentation, but what remains is a broad list covering several thousand years and identified by type: lights, objects, abductions, physical evidence, entities, communication, or [ā¦]
[ā¦]back into the book of natureā¦becomes surprisingly possible through the use of the recent and latest technical media and is now also being ārealizedā by respective projects.ā ā Peter Gendolla, Beyond the Screen (377) In Edwin Abbottās 1884 novella Flatland: a Romance of Many Dimensions, narrator āA. Squareā articulates a transition between two- and three-dimensional space. He describes Flatland as a plane-like world inhabited solely by two-dimensional polygons, and it is only when an emissary from āSpacelandāāa Sphereāvisits A. Square on the last evening of the year 1999 in order to preach the āgospel of the three dimensionsā (75) that [ā¦]
[ā¦]creation and capacities to accumulate, store, transfer, analyse, and use massive databases to guide decisions in the global marketplaceā (3). Thus, āattentionā and how we define it is the critical practice of our time. On the one hand, attention is seen as a commodity (that one, indeed, pays for and pays with) and, on the other hand, it is a critical component of our consciousness and identity. But the care referenced by Ars Industrialis is not simply the sterile care that one applies when determined to obtain a trophy or preserve oneās toy collection, it is care in the social [ā¦]
[ā¦]activities first and cognitive ones second. One does not cognitively engage with media via these latest advances in screen-based interfaces so much as one physically interacts with it, while the screen itself, along with the media forms it suggests, function like any concrete entity or body to be handled and engaged accordingly. It functions as a musical instrument to be played as a keyboard, perhaps, or even a string instrument, if chosen and opened as such. In short, most users of a touchscreen device like the iPad will find themselves hard-pressed to discover they are in fact engaging with any [ā¦]
[ā¦]to no less an authority than Marjorie Perloff, acquisitive or recycled poetry simply reflects the latest twist in literary aesthetics: Inventio is giving way to appropriation, elaborate constraint, visual and sound composition, and reliance on intertextuality. Thus we are witnessing a new poetry, more conceptual than directly expressiveāa poetry in which, as Gerald Bruns put it with reference to Cageās āwriting throughāĀ Finnegans Wake, the shift is from a Chomskyan linguistic competence, in which the subject is able to produce an infinite number of original sentences from the deep structure of linguistic rules, to the pragmatic discourse that appropriates and renews [ā¦]
[ā¦]story about the short-sighted publisher who rejected A River Runs Through It because ā[t]hese stories have trees in them,ā Cohen further posits that ā[a]ll published or even manuscripted narratives have trees in them because they are made of trees.ā In each separate comment, Cohen aimed to be inclusive; however, the celebration of wide-open spaces via the printed page seems to exclude the topic of this study ā an eco-critical reading of cave space in videogames. Cave space, which sits in a peculiar contrast to surface environments, has long held a place of difference in the human experience of natural environments. [ā¦]
[ā¦]To quote Anastasia Salter, a tension exists between āintentional writing under constraint [and] simply following the traditional rules governing communication or working with a mediumā (Salter 533). Holes demonstrates an awareness of both in its use of a chosen constraint, and a similar renegotiation of tradition through repurposed aesthetic choices also characterizes its engagement with the motif of landscape. A ten-syllable line of poetry published and disseminated via a social media platform nods towards high cultural production, yet renders the speaking voice rather mundane. In this sense, Holes can be examined as a simultaneous acknowledgement and refusal of the lyric [ā¦]