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Frequently in True North, Strickland makes reference – and hypertext may be, even in poetry, primarily a medium and method of annotation – to Muriel Rukeyser’s 1942 biography of Josiah Willard Gibbs (1839-1903). From this source comes the narration of an incident, of a sort to help posterity recognize a man “of whom,” says Rukeyser, “so few stories have been told” (224): Gibbs spoke only once in a Faculty Meeting, during protracted, tiring debate on elective courses: should there be – more English, more Classics? More? Or less. They were astonished to see him rise, after thirty-two years, though familiar […]
Dorothy wants to leave Oz, the land of spectacle, so she chants “There’s no place like home,” three times to awake in familiar grey Kansas. That’s a far cry from Vienna and Paris, but in Beatriz Colomina’s Privacy and Publicity, these European cities provide the backdrop for a discussion of home. Focusing primarily on the houses and interiors designed by Adolf Loos and Le Corbusier, Colomina argues that architecture, far from being immune to the influence of mass culture as traditional architectural thinking has it, was influenced by mass media such as advertising and photography. As Colomina writes: The building […]
There are blow jobs and then there are blow jobs. The volumes at hand deal with both figurative and literal examples of the genre. And they manage to range over, as well as map, the landscape of what is loosely called print journalism in book form. They reveal not just hidden agendas, but the transformation journalism has undergone at the end of the twentieth century. One might first note the obvious: they are all written by men. There are books written by women inspired by Bill Clinton’s life and loves (Gennifer Flowers, Dolly Kyle Browning), but these are, in the […]
Following such foundational studies as Robert Nadeau’s Readings from the New Book on Nature (1981), N. Katherine Hayles’s The Cosmic Web (1984), David Porush’s The Soft Machine (1985), and Tom LeClair’s The Art of Excess (1989), Strehle and Johnston continue to work with a remarkably stable canon whose authors have “turned to modern science and technology for alternative concepts of narrative necessity and thematic organization” (Johnston 64). In the distributed network of alternatives that these mainstream studies have created, Pynchon occupies the shifting center, Barth and Coover persist in the academic margins, Gaddis and McElroy stand in perennial need of […]
Remediation is an important book. Its co-authors, Jay David Bolter and Richard Grusin, seem self-conscious of this from the outset. The book’s subtitle, for example, suggests their intent to contend for the mantle of Marshall McLuhan, who all but invented media studies with Understanding Media (1964), published twenty years prior to the mass-market release of the Apple Macintosh and thirty years prior to the popular advent of the World Wide Web. There has also, I think, been advance anticipation for Remediation among the still relatively small coterie of scholars engaged in serious cultural studies of computing and information technology. Bolter […]
Reviewing Harry Mathews is an onerous task, for the review is a taxonomical genre, and Mathews defies classification. Perhaps it is best not to assess his writing but to process it. One could leaf through it using one of his own devices, such as “Mathews’s Algorithm” – a literary machine he invented which recombines given elements according to a simple, elegant procedure. Indeed, Mathews’s texts – which include Oulipian exercises, poetry, translations, reviews, short fictions, memoir, and novels – read as if generated by an algorithm with a few bugs still in it. Mathews has characterized his singular prose style […]
1999 will mark the 10th anniversary of the web-based literary journal Alire. The journal – created in January 1989 by the Parisian group L.A.I.R.E. (Lecture, Art, Innovation, Recherche, Écriture), which included Philippe Bootz, Frédéric Develay, Jean-Marie Dutey, Claude Maillard, and Tibor Papp – is known as the oldest multimedia journal in Europe, and certainly one of the oldest in the West. Before the arrival of CD-ROMs, before the Internet explosion, the journal was already publishing poetry written for and intended to be read through computers. The tenth anniversary will be an occasion to return to several of the pathways located […]
Stephanie Strickland on the translation of poetry from print to screen. Talk given at Hamline University, St. Paul, MN, April 10, 1997 I want to start by evoking some of the many times that poetry is not a “book” of poetry: for instance, Prospero’s Books, a film, itself a version of Shakespeare’s theater poem, “The Tempest”; poetry videos, poetry spots on the radio; and many kinds of live performance, from slams to sonic poetry. We have also, today, for the first time, hypertext. Poems, and collections of poems, can be composed as, or into, hypertext, using the many specific capabilities […]
Sound is not voice. The desire for it to be so, however, seems to lie at the heart of much compelling art, music, and film. How we feel about this desire – that to be human at all is to thoroughly take that desire for granted or, conversely, that to live in post-Enlightenment (much less postmodern) culture is to see that desire as romantic in the worst possible sense – is a question visited upon audiences with the most uncanny and disconcerting force in Lars von Trier’s film Dancer in the Dark. When the film was first released in May […]
on the ghost in the machine: the font as spiritual medium in CD-ROM poetry design “No one up here pays attention to reviews. We don’t care about reviews. Frankly reviews are mostly for people who still read. Like most of the written word, it is going the way of the dinosaurs. Most people get their information from the cinema and electronic media. I don’t know any actors or people in show business who have any serious interest in what is written about our world.” – Bruce Willis Up to now, setting type on a computer has followed a logic of […]
Is there a music to media ecology? John Cage argues: “Music as I conceive it is ecological. You could go further and say that it IS ecology” (Birds 229). The radical nature of this claim still demands to be understood. The challenges of Cage’s long trajectory across various media signal his stance toward a complex exteriority, an eco-musicology he calls “the impossibility of language” (113). Cage is a thinker of complexity, that is, of the materiality of systems, of the “working” aggregates he names music. His work is not adequately summarized by too-quick dismissals as a neotranscendentalism or Romanticism (as […]
A postmodern parlor game we liked to play in grad school worked like this: at an appropriately advanced juncture in the evening, distribute a text to each person there. Make sure there is a range of texts—no, a real range, as in not only Chaucer and Erdrich and Pynchon and Acker and Austin, but a cookbook, a comp class assignment, a phone book, an album cover, loose sheets that missed the can. Then take turns driving—the designated driver (sobriety unrequired) points to a person who randomly picks a place to begin reading; that person reads until halted by an open […]
About halfway through the 1994 film Bad Girls, Anita Crown (Mary Stuart Masterson), a young widow, discovers that she is no longer entitled to a claim on her deceased husband’s land rights. She has sought the advice of a lawyer, and when he informs her that the claim is invalid, she avows, “If your laws don’t include me, well, then they just don’t apply to me either.” This could well be the rallying cry of the bad girl in a so-called “postfeminist” era. Like Thelma and Louise, the four women in Bad Girls violate patriarchal laws and end up purifying […]
[ Some of the links to journals mentioned here are no longer active; others are, and yet others, such as Amy Janota’s “Amy.com” appear to be under new ownership. See Todd Napolitano’s contemporaneous essay, Of Graphomania, Confession, and the Writing Self for another view on Web journals, and Rob Wittig’s Justin Hall and the Birth of the Blogs for a more recent discussion of what came to known as “blogs” -eds. ] Exactly what constitutes women’s writing on the World Wide Web is a problematic question. Almost any Web page constructed by/for/about women might be labeled as “women’s writing.” Since […]
Common sense ought to tell us it requires less effort to open a web browser than it does to walk across campus. Which is fine, at least for the moment, at least until academicians in both the humanities and the sciences begin to appreciate the potential for interdisciplinary exchange that the network now offers them. And by interdisciplinary, I don’t mean the routine say you say me patter of a literary critic having a conversation with a colleague in history. Instead, I mean aggressive interdisciplinary work, as when a cultural studies scholar looks in on the Artificial Intelligence Lab at […]
Marjorie Coverley Luesebrink performs an autopsy on the hypertextual corpse. The hypertext corpus has been produced; if it is to be resurrected, it will only be as part of a patchwork that includes other types of literary machines. (Nicholas Montfort) Many thanks to Nick Montfort for his “Cybertext Killed the Hypertext Star” reviewing Espen Aarseth’s work Cybertext: Perspectives on Ergodic Literature. Aarseth’s work is part of a valuable base of critical material that has attempted to refine the poetics of electronic literature on-the-fly, so to speak – to establish criteria in a field that is very young. As the form […]
Rita Raley on the varieties of code/text, as discovered in the object-oriented aesthetic of Mez, Ted Warnell, Talan Memmott, Alan Sondheim, and others. 6.) Code. Use the computer. It’s not a television. Excerpted from Lewis Lacook’s posting of his “rules” for net.art to the Webartery mailing list, reposted to the Nettime list (February 14, 2002). Codework refers to the use of the contemporary idiolect of the computer and computing processes in digital media experimental writing, or [net.writing]. Some of the prominent practitioners include Alan Sondheim, who has given the practice and genre its name, Mez (Mary-Anne Breeze), Talan Memmott, Ted […]
Digital utopianism is still with us. It is with us despite having been tempered by network logistics and an all-too-reasonable demand for ‘content.’ Admittedly, New Media has aged. It has acquired a history or at least some genuine engagement with the reality principle, now that the Net is accepted as a material and cultural given of the developed world, now that the dot.coms have crashed, now that unsolicited marketing email and commercialism dominates network traffic. Nonetheless, artistic practice in digital media is still often driven by youthful, escapist, utopian enthusiasms. Net Art as such pretends to leapfrog this naivety through […]
1. A gorgeous little book for a filthy little topic, Laporte’s History of Shit almost defies analysis. A history of the psychoanalytic, social, cultural, and political appropriations of human waste, Laporte’s approach is almost as fluid as his subject-matter and the result is both fascinating and frustrating: full of whimsical insight, jumps of logic, free association and half-constructed arguments that are reiterated 50 pages later. It is also engagingly illustrated with contraptions for the control of four centuries of Western shit, and the cover design evokes an anus. Although influenced by Freud (“whose three requirements of civilization are cleanliness, order […]
The simultaneous publication of these three texts on the first anniversary of 9/11 presents a unique opportunity to assess both relations among prominent voices in critical theory and the political meaning of aspects of theoretical discourse. Readers who are familiar with these authors will not be surprised by the dominant perspectives and some of the ideas in these texts: Baudrillard’s negotiation of the simulacral and the real, Virilio’s critique of the extensions of military technology, and Zizek’s appeal to Lacanian concepts are all on display. Baudrillard, Virilio, and Zizek use these frameworks to address the significance of 9/11, but the […]