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[ā¦]racial affinities, taken too quickly for granted in a white liberal milieu, turn out not to be so comfortable after all. The list of unlikely likenesses can be extended, but Berryās fiction is not, finally, just another version of Frankenstein so much as it is the story of āits own perversionā it is perhaps less a narrative than a verbal network, through which earlier narratives and former languages are continually cited and transformed. The housemaid, when she testifies in court, raps; the āmore-than-sister,ā Liza Mbira, writes one letter that is nothing but a pastiche of pop lyrics. An extended, unpaginated [ā¦]
[ā¦]a more literally untamed Americaā than either Frank or Rob (the two narrators) could have foretold.ā Tabbi hears this statement as a version of a sentence within Frank that aligns its narratorsā stories with āall our tepid culture has cast out.ā Noting that a similar claim has at times been advanced on behalf of the fiction published by FC2, the press with which Iām associated, Tabbi makes his most trenchant and sensitive criticism: In my view the claim is disingenuous and even a little insulting, because it assumes that there is another, lived reality that the author knows and that [ā¦]
[ā¦]jug, cork woman[ās mouth],ā while other things refers to a folksong in which āimpetuous [husband] withdraws-from-vagina.ā (Women are thought to create namele naturally, along with language; but as I hardly need tell you, they have no mastery of it ā no power of nalaman.) Similarly, where use ule ulemaka involves āburning the old field,ā use olemaka leads to āburning (i.e. cooking) new fish.ā Submit to the passages once again. Do you see how beautiful this is? How brightly narakaviri colors the dawn sky? Brighter than any ulemaka! And now how bright and dear it must be that namele never be [ā¦]
[ā¦]of thought in general. Is the ecosublime engaged by the radical activist? Rarely, because ā[t]heir actions generate the terror in realizing tentativeness and incalculable uncertainty (comprehension), but they fail to trigger the awe of ecological integration (apprehension). Ecotage, both literary and literal, obscures at-risk ecologies and creates a green carnival that more often than not alienates potential alliesā (92). We remember Rozelleās own peak moment in the Gulf when he calls for an ecosublime that stays on the side of non-violence: āProponents of an ecological worldview must infiltrate rather than annihilate.ā In effect, Abbey does the most good when he [ā¦]
[ā¦]for the role-playing hobby. I began to play, widely, regularly, and experimentally, mostly free and self-published games. And from this I began to understand how powerful role-playing experiences that produce story with less noise could be delivered by game rules that consciously mediate play as an endeavor of collaborative authorship. The Architecture of Protagonism Traditional role-playing games fail consistently as engines of story creation from their relentless doubting of the protagonism of the player characters. A character can generally suffer an ignominious demise at any turn. No author of fiction would be so cavalier. And so neither is My Life [ā¦]
[ā¦]almost no one. As a personal RPG philosophy, I believe that most players want to relive adventures and stories of the type theyāve read in books, or seen in movies or on television. Consequently, Iāve always made heavy use of established dramatic clichĆ©s, either presented straightforwardly or turned on their ear. Like any pop culture form of entertainment, you want a mix of the familiar combined with something new. I started the Haunted House design by making a list of all the spooky events I could remember from movies like Poltergeist, House on Haunted Hill, The Haunting of Hill House, [ā¦]
[ā¦]of āgameā has become an area of major effort for the emerging field of game studies. Consider, for example, Rules of Play, a game design and theory text by Katie Salen and Eric Zimmerman (2003). This bookās widely cited definition characterizes a game as āa system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcomeā (Salen and Zimmerman 2003, 80). Certainly thereās nothing wrong with such attempts to define what we mean when we say āgameā ā but something is always made peripheral, something is always pushed to the border, or over [ā¦]
[ā¦]ebr terms, think of it as an autopoietic writing machine. But itās up to each participant to get into that intersubjective groove, where they can methodically play themselves as agent. Easier said than done? Or, as Miles once said, āSometimes you have to play a long time to be able to play like yourself.ā Amen. ESSAYS [Visualize] Trace Reddell, Litmixer http://www.electronicbookreview.com/thread/musicsoundnoise/recombinant Cary Wolfe, When You Canāt Believe Your Eyes: Voice, Vision, and the Prosthetic Subject in Dancer in the Dark http://www.electronicbookreview.com/thread/musicsoundnoise/operatic Joe Tabbi, An Autopoietic Writing Machine? http://www.electronicbookreview.com/thread/endconstruction/structural Tobias C. Van Veen, Altx-Audio #14: Air.Strike http://www.altx.com/audio/media/altx14.m3u Mark Amerika, FILMTEXT: An [ā¦]
[ā¦]it is difficult to see any contemporary equivalent to Juniper Fuse. In it the poet, translator, editor and Sulfur founder Clayton Eshleman combines poetry, psychoanalytic and philosophical speculation, art historical summings up and musings, and often perilous, nothing if not visceral, personal wrestling with the psychic forces conjured up by his more than twenty-five years research into the ānearly disintegrated Atlantisā of the ancient cave paintings in southwestern France. Chock full with fascinating and sizzling insights or ruminations on nearly every page, Juniper Fuse is a rhizomatically structured source book where a prose discussion of the origin of image-making 10 [ā¦]
[ā¦]including authorās commentary and clear instructions; anyone who knows how to use a computer and WWW browser should be able to navigate through the material. Indeed, many conveniences are supplied for readers: multiple indexes, organized by author, keyword, title, etc. Layout and design are consistent; information about the works (including author statements) is plentiful: it is a researcherās dream! Interestingly, more than fifty general categories (style of work, software used or other demographic) are identified and used as keywords by the editors. The different styles identified are useful classifications, and can be understood without much difficulty: Ambient, Animation/Kinetic, Appropriated texts, [ā¦]