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[…]me to teach an electronic performance course in undergraduate drama. It was here that I began to formally articulate my own pedagogy, trying out things I’d learned at both Florida and NYU. I’ve come to call this pedagogy “StudioLab.” As the name suggests, StudioLab is designed to take place in both studio and computer lab environments, allowing students to develop critico-creative projects and digital skills using models drawn from cultural performance: theater, performance art, ritual, and practices of everyday life. Here’s how it works: In studio, students work in “bands” to collaboratively conceive and develop the performative aspects of their […]
[…]within the sociodiscursive framework of the Levinasian “face-to-face conversation” (248). “[A]ll dramas begin,” we learn in Roberson’s “Palestine,” with “human connection” (243), but it is also with it that we can begin to imagine a solution for, indeed, the space of connectivity – the place of the “face-to-face” – “energizes” mind and body, prompts people to overcome physical and intellectual “apathy” and enter that “Phase of Imagination” (244) where things can be seen otherwise. A “collective” kind of “assemblage” (249) insofar as it moves forward by steeping itself into the past of “Ron’s book” (249), which, we saw, in its […]
[…]past and future codework can more easily be followed. Additionally, this paper can be read as the latest in a series of six essays by Strickland, available exclusively in ebr. “Dovetailing Details Fly Apart – All Over, Again, In Code, In Poetry, In Chreods“ “Moving Through Me as I Move“ “Dali Clocks: Time Dimensions of Hypermedia“ “To Be Both in Touch and in Control“ “Seven League Boots: Poetry, Science, Hypertext“ “Poetry in the Electronic […]
[…]in depth in the opening chapter, which argues with reference to Hiroshima and Nagasaki that “[t]he dropping of the atomic bombs effected what Michel Foucault would call a major shift in epistemes, a fundamental change in the organization, production and circulation of knowledge” (33). It initiates the “age of the world target” in which war becomes virtualized and knowledge militarized, particularly under the aegis of so-called “area studies”. It’s hard not to see this as a Pacific version of the notorious argument that the Gulag and/or the Holocaust reveal the exhaustion of modernity. And the first thing one has to […]
[…]poor reputation in some circles. Schleifer writes as though he is interested in collaboration: “[I]t seems to me that our task, in recovering or constructing the intelligibility of our time, is to discover ways of valuing collaborative enterprise” (146). Since Schleifer’s own work is expressly interdisciplinary, and since we can assume from the impressive number of texts he has published that he must value his own work, he can be taken to suggest that our task is to value work like his. But Schleifer fails to be collaborative in two ways: (1) Since he does not work to understand the […]
[…]characters, within characters, by generating a world within which the author can give expression to forces internal to her, of which even she is not conscious. To claim that Proust had the notion – even vague or confused – of the antecedent unity of the Search or that he found it subsequently, but as animating the whole from the start, is to read him badly, applying the ready-made criteria of organic totality that are precisely the ones he rejects and missing the new conception of unity he was in the process of creating (Proust and Signs 116). The author always […]
[…]from all ephemeral contingency” (19). Kenner explains that for Flaubert, “Art [tended] toward the general and human behavior [tended] toward the cliché” as such “the supreme artist is the cliché expert [who] cannot do better than to imitate, as closely as he can, the procedures of the hack” (19). In other words, Flaubert’s genius does not lie in the myth of originality. The very act of trying to write an original novel is an absurdity because novels are modeled on human behavior which clutches onto clichés. The opening pages of Bouvard et Pécuchet reveal this artistic goal, itself, as farcical. […]
[…]is being investigated back in Los Angeles for tampering with evidence and his partner has agreed to testify against him. So when the accident happens, Dormer realizes that his motive for wanting the partner dead will be immediately obvious and incriminating. Where, if the truth were known, the Scandinavian detective would be cited for having broken the rules, Dormer would be suspected of murder. The difference between the two movies thus emerges as a difference in how to motivate the cover up of the accident, and the motive Nolan comes up with is an extremely convincing one. But, precisely because […]
[…]or Indie Press Revolution. Within these channels, innovative publishing models are developing. For example, Dennis Detwiller, co-creator of Delta Green, has released new RPG material using the “ransom model.” In these cases a product is released (as a PDF) only if visitors to his web site donate enough money in advance to finance its completion. Naturally there are still the big players. Dungeons & Dragons is more popular than ever, and White Wolf’s World of Darkness line runs a respectable second in industry popularity. In their contributions, Erik Mona and Will Hindmarch give overviews of the early history of D&D […]
[…]to be valued is a capacity to recognize… that there are other points of view than ours… [and the] conclusion is that… our interests should automatically override the demands.. of all other things. We are absolutely better than the animals because we are able to give their interests some consideration: so we won’t.”. Stephen R.L. Clark, The Moral Status of Animals (Oxford: Oxford University Press, 1984), p. 108. The situation, however, seems to change when it comes to the second part of Kitcher’s essay, that develops a rather innovative line of reasoning. We have mentioned that the appeal to human […]