[ā¦]as savior that helps to āclean upā and ārevitalizeā the city, what is left to do for the latest crew of Ghostbusters? The city of the new Ghostbusters, for instance, is a post-, not pre-, gentrified New York.Ā The downtown that Egon Spengler once likened to a āwar zoneā that nevertheless offers the group cheap real estate in the form of an abandoned firehouse (another instance of the cityās failings), has been transformed, in the new film, into an up-an-coming neighborhood whose converted firehouse is a too-expensive, trendy āloft-spaceā that forces the new Ghostbusters to move further downtown (to a [ā¦]
[ā¦]Jamesonās famous ālarge scale explanationā inĀ PostmodernismĀ (1991), stating that ā[o]ne is tempted at every little step to take the familiar shortcut of appealing to ālarger social forces,ā to āthe cultural logic of late capitalism,ā to ācontemporary societyā as a whole. But at this stage in the evolution of literary studies, that shortcut has begun to look like a dead end.ā English accurately summarises the burgeoning concern for many current literary scholarsāthat ālarge scale explanationsā often oversimplify the complexities and aporias of contemporary life. Instead, in an attempt to illuminate how fiction can credibly engage with current political issues, recent publications have [ā¦]
[ā¦]Project Muse. This affiliation ended the online poaching of American Book Review content, and opened up the contents of the journal to thousands of libraries around the world, many of which did not previously subscribe to the journal. Ten years later, Iām pleased to say that our partnership with Project Muse has been a good one for American Book Review. While many of our print book review brethren have died out over past decade, we are thriving both in print and online.Ā This is in large part due to our arrangement with Project Muse; one that gives us a foothold [ā¦]
[ā¦]being left out? Spinosa is correct that a further exploration of ābad disruptionā is needed, and towards outlining one, I identify two kinds. Stealing content that is treated as information, content that is easier to steal because it has been abstracted from original forms as well as from the conditions of production, is not the same as stealing content through privilegeāsuch as when minority individuals and groups have their work or even identities stolen. While there are many examples of this kind of theft throughout creative history, one of note is white American poet Michael Derrick Hudson, whose poetry became [ā¦]
[ā¦]The Emergence of Network Culture (Ann Arbor: University of Michigan Press, 2001, 193-212. 2.For an example of hypertext preservation, see Dene Grigar and Stuart Moulthropās Pathfinders project, which documents four important early works: Judy Malloyās Uncle Roger, John McDaidās Uncle Buddyās Phantom Funhouse, Shelley Jacksonās Patchwork Girl, and Bill Blyās We [ā¦]
[ā¦]studies). Among the many important openings made by MencĆa, Pold and Portela, I would like to foreground three. First of all, the proposal to include the technological dimensions of the text in the global translation process. When translating an electronic text, one is also confronted with the problems of translating the various algorithms and medial infrastructures that not only allow readers to discover the text, but that actually help create it. MencĆa, Pold and Portelaās argument is of course directly linked with software and hardware questions, but it is easy to see that the authors make something more than an [ā¦]
[ā¦]can be achieved here is the beginning of a discourse which will hopefully flourish in years to come. Electronic Literature as Community What makes for a literary movement? In many respects, literary movements are, like any cohort, little more than the coming together of like-minded individuals who share a common interest in a particular ideology or practiceācommunities are about a shared culture, some elusive thing that binds. The ability to convincingly identify a movement and its lines of aesthetic demarcation, however vague, largely comes through subsequent critical interventions. The inherent risk is that such interventions are determined by the institutions [ā¦]
[ā¦]philosophical treatise, social theory and literary nonfiction, GTSR could be described as a manifesto for a new poetics of the social. Its analysis of current forms of complicity between political manipulation and aesthetic practice as expression of the collective unconscious ā conceptualized as the phantasmatic (pp.4-6) ā provide the initial evidence for the non-linear, non-local and relativist features of the social. GTSRās description of social mediation is so inventive that almost any sentence can be quoted either as an example of its arguments or an axiomatic proposition for generating further networks of speculative thoughts. They open up an entire conceptual [ā¦]
[ā¦]Judd Morissey performed in Bergen in 2008. In Elpenor, multi-screening introduces a significant discomfort into perception; either the person cannot perceive what is happening on the small screen and focuses only on the big screen, truncating the reading experience, or the screening arrangement forced her attention to defocus from the main screen to the small screen. In one configuration, information that continues to appear on the main screen can be lost, and in another, attention switches between two aesthetic spaces that are totally disconnected. The virtual machine version opens 2 windows: the first one, which displays the interface, opens fully [ā¦]
[ā¦]āfeatured playersā in a netprov, and the more casual āouter circleā. As Wittig describes, [t]he collaboration of the inner circle is modeled on theatrical improv. The participation of the outer circle of readers is modeled on networked role-playing games, and on fan participation in mass media fictional āworlds.ā (āLiterature and Netprov in Social Media: A Travesty, or, in Defense of Pretensionā) For myself as a casual, first-time participant in the netprov, I was clearly part of the āouter circleā. It is difficult to agree with the characterization of this participation as that of a āreaderā, or at least as a [ā¦]