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[…]machinic nature of the multitude–the multitude, in other words, is machinic even when unattached to computers, robots, prostheses, nanomachines, and the like. The cyborg discourse therefore represents a shift toward the definition of general intellect as the machinery of labor, not subjectivity. For example, in Labor of Dionysus, Hardt and Negri identify the cyborg, “a hybrid of machine and organism that continually crosses the boundaries between material and immaterial labor” (281), with the social worker of Negri’s autonomist writings. By stating that “all of the efforts of the refusal of work of all the other exploited social strata tend to […]
[…]that generates new paths for textual questions. When I teach Donna Haraway’s 1985 “Manifesto for Cyborg” piece,“Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980’s.” Socialist Review 80 (1985): 65-108. I tell students of its origins: Socialist Review invited Haraway to respond to the question, “wither socialist feminism?” Haraway’s piece is fruitfully read as a response to this query, alerting us to the (then) ascendant Christian conservative movement and the dangers of Edenic thinking in the search for politics before or outside the present. The sweated labor of third-world women produced by post-Fordist global capital shifts was integral […]
[…]way of conclusion, let me now try and substantiate the above claims by turning to Mathews’s latest novel, My Life in CIA (2005). As the title already suggests, this book clearly draws on what Steiner calls the “master genre” of the present day, namely the testimony or memoir (Steiner 537). Written in a sparse, almost Spartan style, the book discloses an episode in the life story of a middle-aged American author living in Paris by the name of Harry Mathews, who sometime during the early 1970s all of a sudden stands accused of being a member of the CIA. At […]
[…]length; the sensualism would be found in the poetic density this can bring to language. In your latest novel, My Life in CIA, the protagonist is constantly trying to be on top of things, but the more he tries, the more he gets tangled up in all kinds of schemes not of his own making. When rereading the work, I realized that both the Orsini and the Hohenzollern carry a bear in their coat of arms, which nicely connects the beginning and the end of the novel. The bear is also a symbol of greed, which I felt to be […]
[…]English words have nowhere retained their ordinary meaning: ‘to read the stations’ means ‘to complain,’ ‘to spread jam’ means ‘to lie,’ ‘I’m sorry’ means ‘I strongly disagree,’ etc. A few of Chaix’s equivalents, virtually all of which are invented: déplier mon Golgotha = to lay out my [map of] Golgotha; foire comes from enfoiré = a bugger, in its most contemptuous sense; à perpète: for life, normally used to describe a jail sentence; battre des naseaux = to have one’s nostrils a-flutter: éponger tes faux-cils = to dry your false eyelashes; pincer le banjo combines pincer = to have a […]
[…]New York correctional facility built on Seneca natives’ land near where “the Genesee gorge fall[s] a sheer thousand feet into swamp, sand bar, and a waiting river that has been eating into this plateau since the final recession of the last glaciers.” His survey of prison locations extends to his native California, where he lives comfortably in a lush valley surrounded by “Cambrian ridges” in view of the “willows” along “Esopus Creek,” but where he is ever-mindful of other Californian terrain where “163,000 men and women [are] imprisoned” and where the “Border ‘Wall’ [which] extends literally into the Pacific and […]
[…]“cheese,” and then presses the camera’s “trigger” (59), the scene resonates with what is to come, the worst combination of nationalism and violence ever to arise. Nietzsche even sees a woman “walking down a burned-out street in Dresden, dragging what was left of her skin behind her” (139) and he feels that there is a world coming in which “Everything [consumes] everything else” (167). He dreams up a clown that takes the stage in Bayreuth, replacing Wagner’s mythical histrionics with a plain but agitating warning that the audience is “living at the tip of calamity” and that the building (and […]
[…]at dramatic moments in her book that human experience is profoundly analog, that natural language, for example, isn’t just a High-Level-Language. We need to regard the imbrication of our present and future in the schemes and tropes of digital devices precisely as figures, as cases of what she called “intermediation” – a many-stranded weave of organisms, machines, subjects, economies, and representations that produce both convergences with and divergences from technologies. I must confess, though, that I flag under the burden of all this junk. I need a little less complexity, a through-line in the narrative. It may be there and […]
[…]of all, however, as with all of McGann’s work, these essays point to the shape of the decades to come for our profession. More so than any other single critic or scholar in the last twenty years (at least for me), McGann’s work – from A Critique of Modern Textual Criticism right through to his present work on NINES and the Ivanhoe Game (more on those in a minute) – has pointed to the future of work in the discipline of literary studies. What he says (ah, and what he does not say) in Radiant Textuality are important starting points […]
[…]“Why 9/11 Never Happened”, along with Riley’s essay on Kerouac, are the most recent pieces to come my way, and provided just the right points of balance for a mix with the essays by van Veen and Boon. Together, a few key themes emerge: a concern with what happens when our idea of “identity” becomes connected to the use of musical and other sound technologies; an articulation of several ways in which sound participates in the imaginative construction and epistemological processing of shared social spaces; and multifaceted approaches to the technologies of sound, the processes of media production, performance and […]