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[…]the future, writers have a hand, a tiny hand, granted, a tiny hand but a real hand, a real hand and therefore an important hand, in shaping its architectonics. And in part that’s because trying to imagine the present and therefore the future is a means for our species of remaining awake, a way of rousing ourselves in the midst of our dreaming. Thinking, Ludwig Wittgenstein once reminded us, is digestion; thinking, in other words, is that much a component of who we are. If you don’t use your own imagination, Ronald Sukenick once reminded us, somebody else is going […]
[…]these parodies can themselves be absorbed into the IP regime. Capitalism has long had the power to commodify even the most virulently anti-capitalist culture, perhaps never more than at the present, with Janis Joplin’s anthem being used to sell Mercedes cars, and Chinese workers under Beijing’s state capitalism putting in 14-hour days to make Communist souvenirs for Western tourists. Tara McPherson ‘s conversation with Anne-Marie Schleiner acknowledges that the “feeling of volition and control” and “illusory promises of transformation” sought by purchasers of commodified culture such as video games can be seen as a “seduction” and as “corporate strategies of […]
[…]control?” she presses beyond the univocal narratives of techno-determinism and techno-optimism to examine writing technologies embedded in a social field of struggle and a social field of alternate possibilities other than those expressed in a particular historical moment. By inviting students to narrate their own experiences with technologies, she initiates a process of re-narration and re-imagination of the social space those technologies reflect, express, and sustain. Above all, her teaching practice aims to counter the widespread “poverty of imagination for social struggle.” The effort to translate classroom resistance from the level of signs to the arena of political practice is […]
[…]and characteristics that are usually bundled together under the expedient rubric of cyberculture. For Andrew Murphie and John Potts, technological change is the object of their study and, in particular, the manifold complexity of continuous and discontinuous change. The title of their book is indicative of their focus, in that culture and technology are a common formation, not separate fields that have dramatically come together in the name of cyberculture. The project of Culture and Technology, then, is to trace the trajectories that have informed the present as well as to suggest its dynamic, shifting complexity. More specific in its […]
[…]realizes right away that he and the rest of the audience have witnessed a real act of violence: “[I]t was over the line, you wondered how she was standing” (7). Characteristically for McElroy, things do not go forward from there. Daley and the actress, Becca, do meet; they spend a week in sex and conversation; they learn a few of each other’s secrets. Much of the book, however, twists its way through distant, remembered events – the misadventures of Daley’s brother Wolf, the strange relationship between Daley’s late wife and her diving coach, a slashing by the docks, a first […]
[…]The new does not erase the old. Can we depend upon the converse, however? Mr. Ciccoricco says “[t]he conventional wisdom of print has never threatened to occlude the literary creativity of a digital age…” True, the Print Cabal has not yet slapped me with a restraining order. But how was it that a certain celebrated electronic magazine declined to publish Michael Joyce’s Twelve Blue for fear of disorienting its readers? What became of the website supporting the hypertexts excerpted in the Norton Anthology of Postmodernist Fiction? Why does no corporate publisher offer a line of hypertexts? To say nothing of […]
[…]for his audience. Pell is asking his audience to take collective action; he is telling us to forge an alliance of revolt against corporate culture using LiveMotion as a tool (the fact that this software is itself a product of corporate culture is one Pell seems to ignore). Pell’s readers are supposed to oppose corporate culture and their identities are supposed to be partially defined by this political struggle (a clear victim of Pell’s assault is the Microsoft Corporation; “Defeat Microsoft now!” states a character in one of his animations). The manipulation of images, for which the program is used, […]
[…]from existence. A confluence of events, a confluence of media: the humanist assumptions built into questions like “What happened” and “Who did it” exposed as superstitions. Science becomes ritual, and ritual is overwhelmingly aesthetic. The more general merger between art and scholarly essay goes the same way. Ana Barrado’s nine-photo “Angular Momentum,” depicting Florida tourist attractions, oscillating from amusement parks to NASA exhibits, enacts a utopian posthumanist suggestion: the monumental but benign dominion of engineering over individuals, organizing movement, facilitating “fun.” But like the amusements depicted by Barrado, non-discursive essay media determinedly “aestheticize” the collection in effect, even though their […]
[…]LBJ. Who better to contribute to public policy than college and university professors who are paid to study rhetoric and semiotics? Think of all the energy that cultural critics have devoted to interrogating racist, homophobic, misogynist, and classist rhetoric, values, and assumptions during the last fifteen years. This knowledge can and should be used to counter racism, sexism, homophobia, and the politics of privilege, but such an undertaking requires precisely that “we,” left erstwhile intellectuals, relinquish our stubborn faith in rational argument. Rational argument is what we do on our jobs; it is not necessarily an essential, unchanging measure of […]
[…]affair with Paul. What was for her an intense and enchanting event – and the inspiration for her latest poem – becomes an omission for and of the husband. Liam’s impending absence motivates the work as a whole. In one of the novel’s more forceful moments, Noah escapes with a bottle of Bourbon to the sanctity of his Lexus in the garage after being “burdened by something briefly bigger than himself and no space to consider it” – his son’s meditations on death (149). When Cathleen locates him later, he repeats his son’s question: “It makes me angry and frustrated […]