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[ā¦]existence beyond how they fit into their institutional roles. Even romantic relationships seem to foreground interinstitutional links between police, lawyers, and politicians more than interpersonal bonds that deepen charactersā inner lives and motivations. The chronic alcoholism and infidelity of The Wireās police officers offers a portrait less of flawed personalities than of a flawed institution; for instance, the police admire the systematic discipline and coordination of Barksdaleās crew, which is distinctly lacking in the Baltimore Police Department. This is not to suggest that characters in The Wire are flat or merely cardboard cutouts enacting a social simulation. One of the [ā¦]
[ā¦]of that architecture, rather than about how it hides all of the specifics of each implementation? [(and]) What is a function but precisely the fetish that represents an action as the magically complete and concrete result? (Evan Buswell)āØ Where might we situate the emergence of close analyses of technology in relationship to our history, especially in its relationship to the development of specific technologies? [(and)] Do we begin to see code (and technology) as a relatively unified concrete object of knowledge as it becomes less diverse? (David Shepard) Perhaps we can promote the positive, spectral aspects of code ā āunleash [ā¦]
[ā¦]characters by failing to write them into something that is ānot merely another would-be novel [he] was planning to writeā (37). In a word, Penthouse-F is absurd. But itās a new take the European absurdist tradition it so lovingly lifts from, yoking to it an Auster-esque indeterminate self-reflexivity. And so it can also be said: Richard Kalich is a successful novelist. This is determinately verifiable given the very existence of Penthouse-F as a novel. As a well-received author of three prior novels, the successful writer Kalich has added another installment to a career that is as distinguished as it is [ā¦]
[ā¦]sense; as often, it is āa mode of ā¦ the incommensurable difference of languages, cultures, and forms of knowledgeā (8). And overwhelmingly, the language to whose procrustean mercies āforeign-languageā books need apply for access to visibility in the West (too easily conflated with global visibility) is U.S. English ā precisely, accessible U.S. English. In Chapter 1, āLanguage as [Symbolic] Capital,ā Lennon ties the international prestige of English to its facilitating preeminence in ārecent historic centers of global economic and military powerā (32). The wedding of economic power to consumerism here is what most obviously makes for the premium set by [ā¦]
[ā¦]to concrete observations about the novel itself.Ā The tendency of the essays to spin off into questions independent of Danielewskiās writing is evident even in McHaleās engaging chapter, which is as much about Rachael Blau DuPlessisās definition of poetry as āsegmentivityā as it is about Only Revolutions or Danielewskiās oeuvre. In the end, Mark Z. Danielewski embodies Danielewskiās own problematic place within contemporary literary culture, and in turn suggests why defining a post-postmodernist literature has been difficult.Ā Even though this collection implicitly argues that here is an author who deserves sustained attention to a whole body of work, the essays [ā¦]
[ā¦]interact with texts. As members of the Digital Fiction International Network make clear in their [S]creed, ādigital fiction involves a different kind of connection with the text because we sit in front of a computer, bodily integrated with the machine, and at the same time ontologically separated from the world that it describes.ā Moreover, because new media novels like TOC employ multimodal and multimedial representation, they are able to generate multisensory experiences that cognitively engage the reader/viewer/user on verbal, aural, visual, and kinaesthetic levels. The readerās interaction with the new media text often has an influence on the structural ordering [ā¦]
[ā¦]to their religious background (Douglas-Smith 96) and made it possible for middle class children to study the classics in preparation for university studies, while still offering more applied classes such as science and modern languages that prepared students for careers in business. The students of the City of London School did not isolate themselves from the life of the city but used the city itself as sort of an extension of their courses, taking advantage of the schoolās location on the edge of the Thames to visit museums, libraries, and government buildings. The history of the founding of the City [ā¦]
[ā¦]āEach term obviously does not work as a ātermā that would delineate and fix meaning. . . . [M]eaning has hardly been sketched that it is changed . . .: the sentence itself appears to be in transitionā (FranƧois Jullien, Silent Transformations, 52-53, my translation). The fear of being stifled that arose from proliferating discourses is thus countered, as VAS introduces breathing space between words, perpetually offering them to new interpretations; drawing from the gaps constitutive of any language form, VAS opens space for thinking. Readers are free to reorganize the text, call upon others or other artworks, according to [ā¦]
[ā¦]referenced by Gibson, especially in Count Zero.Ā We return to a typology of architectural spaces and forms of inhabitation by examining the presence of arcologies in Gibsonās work, which generally take the form of ācorporate arcologies,ā or enclaves, and ālow income housingā (127).Ā Our last two sections are devoted to the artificial construction of the natural in Gibsonās landscapes, or what Hoepker refers to as Replascapes; and to the tension between the Bridge, on the one hand, and the spread of malls, franchises, and tourism on the other. While the study promises to move from its typology to āthe identification [ā¦]
[ā¦]gimmicks and games. Of course it is, but a flashback in a novel is a gimmick too. But coming back to format, to me it is a continuum in a certain sense. Even though they came out in reverse chronological order, TOC still does have its own history in print media this idea of materials of book as part of story. Since TOC is about time, time itself is one of the materials that is worked withāthings like how fast the clock hands move affects how you experience the story. KB: I found that especially in its first few screens, [ā¦]