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[…]the two together at the novel’s beginning may be the only language Daley can seriously attend to. And from that violent opening, Becca becomes the “hinge” (379) that may open the door to a new life for Daley, the jolt that will bring him back to his feelings. In Actress, McElroy seems to be writing a kind of urban Western, where the tough hero Daley must face down his nemesis – in this case, his own past – and where that very American duality between the masculine pull toward violence and action encounters the feminine tug toward the domestic order, […]
[…]in licensing agreements, in stock options and IPOs, in carpal tunnel surgeries, and in the [former] Bay Area real estate market (to name just a few). At the time I was highly critical of the general lack of historical materialist studies of new media, and the more polemical portion of my remarks went something like the following: New media studies, as a field, has not yet shown that it appreciates the importance of material history. Too often instead, there is a kind of romance of the digital that prevails, celebrating either the medium’s putative immateriality or its putative newness and […]
[…]the direct influence of private corporations that, in turn, influence the form culture takes. [B]y the close of the twentieth century, in highly developed market economies at least, most symbolic production and human creativity have been captured by and subjected to market relations. Private ownership of the cultural means of production and the sale of the outputs for profit have been the customary characteristics. The exceptions – publicly supported libraries, museums, music – are few, and they are rapidly disappearing. The last fifty years have seen an acceleration in the decline of nonmarket-controlled creative work and symbolic output. At the […]
[…]movie ticket receipts, and the sale of game hardware and software in the United States is expected to top $17 billion a year in 2003, probably surpassing the music industry in total revenues. The audience for these games has shifted as well, with almost two-thirds of gamers now over eighteen and more than a quarter over age thirty-six. The notorious gender gap has also closed; men and women now play games in roughly equal numbers. But, beyond its status as big business, computer gaming is also a powerful cultural force along other registers, a force which ripples across diverse on- […]
[…]forms, wherein good and bad [or evil] implode and make for no difference, or rather make [for] in-difference [ Phenomenology 314-17]. But this flow and mix, these indifferentiae do not lead to a radical nihilism, or to the notion that human beings can be whatever they wish; rather, as Agamben makes clear in terms of ethics/éthos, “there is in effect something that humans are and have to be, but this something is not an essence nor properly a thing: It is the simple fact of one’s own existence as possibility or potentiality ” (Community 43; Agamben’s emphasis). In parallel fashion, […]
[…]Rimbaud is perhaps more illuminating than Jesus or Buddha or various yogis and mystics. Unlike Breton and the Surrealists, however, Bataille did not ride the Hegelian dialectic. Or if dialectics are to be thought, they must be transvalued as an “advanced dialectic,” which Bataille recommended in Death and Sensuality. Such a dialectic doubles as transgression, and it leads to “continuity.” Transcendence and nothing occur at the end of a ruptured (dialectical) movement that eternally returns. Klossowski and Blanchot’s versions of the eternal return are closer to what Bataille might have accepted as a “dialectic.” The beyond at the end of […]
[…]but it is just as ineluctable. Hypertext, at least on an impressionistic level, has the potential to foreground elements of experience that classical physics, epistemology, and maybe even the technology of the “book” erase from the scene. Hypertext is not only the form, but the subject of Kolb’s Socrates in the Labyrinth; the essay explores what the form has to offer philosophical exposition. His focus, therefore, is the nonlinearity of hypertext vis a vis the now-notorious linearity of modern philosophical argumentation. Kolb’s position is reasoned and moderate. He points out what is too often overlooked in enthusiastic discussions of electronic […]
[…]one of the first attempts to articulate an encompassing view of the changes that have come about, and to provide some underpinnings to the growing movement of architects engaging new modes of theory, practice, education, and production. His own description of his effort, a “windshield survey along the infobahn,” is telling and appropriate. The book is indeed a fast ride, and much is glimpsed quickly that warrants a return visit. As one reads the book, everything seems strangely familiar, as if already known. When Mitchell states that the questions posed by cyberspace are worthy of an “online Aristotle,” he reveals […]
[…]also a good time to broach the concept of hypertext and how, as Robert Coover has pointed out, “[r]eading through a hypertext, one senses that just under the surface of the screen is a vast reservoir of story waiting to be found.” I was also hoping to introduce the German literati to what was then just a gopher (read: non-hypertextual) site I had started called Alternative-X. At the time of my Spring 1994 tour, Alt-X had less than ten files, all of them in ugly ascii format (as if html were sexy!), and yet, since no one else was really […]
[…]in critical political debate, for their autonomy was rooted in the sphere of commodity exchange…[for] while the wage laborers were forced to exchange their labor power as their sole commodity, the property-owning private people related to each other as owners of commodities through an exchange of goods. Only the latter were their own masters; only they should be enfranchised to vote – admitted to the public use of reason… (Habermas 109-110) The assumption is that propertyless people couldn’t be trusted to take part in a democratic process of forming rational consensus because they were in competition with one another for […]