Gloss on How to Do Words with Things
September 22, 2007
P:nth-child(8)
Another Foucauldian work, like Livingston’s concerned with performativity and self-reference in literary theory, is Rey Chow’s Age of the World Target, given the third degree by reviewer Ken Hirschkop. Read the review here. Another Foucauldian work, like Livingston’s concerned with performativity and self-reference in literary theory, is Rey Chow’s Age of the World Target, given the third degree by reviewer Ken Hirschkop. Read the review here.
Gloss on Seeking
September 9, 2007
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Speaking of dispersed, technology’s redefinition of the contours of quotidian existence is also a subject of Swigart’s earlier story, Dispersion. Speaking of dispersed, technology’s redefinition of the contours of quotidian existence is also a subject of Swigart’s earlier story, Dispersion.
Gloss on Not Just a River
Ben Underwood
September 9, 2007
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In his short story Dispersion, Swigart describes a quasi-supernatural phenomenon that evokes the link between biological and technological evolution.
Gloss on Satisfying Ambiguity
Ben Underwood
September 9, 2007
P:nth-child(26)
Swigart discusses literal ecological fragility in his essay Not Just a River.
Gloss on Seeking
Ben Underwood
September 9, 2007
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In his essay, Satisfying Ambiguity, Swigart points to Victor Fleming’s 1939 film adaptation of L. Frank Baum’s Oz novels as an example of the use of color to organize knowledge. In his essay, Satisfying Ambiguity, Swigart points to Victor Fleming’s 1939 film adaptation of L. Frank Baum’s Oz novels as an example of the use of color to organize knowledge.
Gloss on The Way We Live Now, What is to be Done?
Stefanie Boese
September 8, 2007
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In her review of McGann’s book Radiant Textuality, Katherine Acheson argues that the usability and graphic quality of McGann’s interface designs have thus far not lived up to the high ambitions of these projects. She suggests that a redesign would be necessary before digital humanities scholarship can become a viable alternative to traditional scholarly publishing.
Gloss on The Way We Live Now, What is to be Done?
Stefanie Boese
September 8, 2007
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Bethany Nowviskie of the University of Virginia introduces the COLLEX tool, a “COLL-ection” and “EX-hibition” of online images and interlinked texts in her white paper, which is available as an “enfolded” text on ebr.
Gloss on The Way We Live Now, What is to be Done?
Stefanie Boese
September 8, 2007
P:nth-child(54)
Kenneth J. Saltman, writing in the Technocapitalist thread, dicusses Michael Milken’s efforts to privatize education, which, Saltman argues, are aimed at “transforming public education into an investment opportunity for the wealthy,” endangering the foundation of a democratic society.
Gloss on SURFACE TO SURFACE, ASHES TO ASHES (REPORTING TO U)
Lori Emerson
July 21, 2007
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ebr itself is an ongoing experiment in creating a generative, user-friendly interface. ebr has documented the conversations (by Anne Burdick, Joseph Tabbi, Mark Amerika) underlying the launches of various interfaces over the years. ebr itself is an ongoing experiment in creating a generative, user-friendly interface. ebr has documented the conversations (by Anne Burdick, Joseph Tabbi, Mark Amerika) underlying the launches of various interfaces over the years. Lorne Falk also writes for ebr on the affective interface and Linda Brigham on the interface as a form of artificial life.
Gloss on The King and I: Elvis and the Post-Mortem or A Discontinuous Narrative in Several Media (On the Way to Hypertext)
Lori Emerson
July 21, 2007
P:nth-child(30)
Larry McCaffery writes of Elvis as a montage-artist in his ebr essay “White Noise/White Heat” on the postmodern in rock ‘n roll: he instinctively combined various American musical idioms (black gospel, blues and rhythm-and-blues, and white country-and-western) into a distinctively new form. Larry McCaffery writes of Elvis as a montage-artist in his ebr essay “White Noise/White Heat” on the postmodern in rock ‘n roll: he instinctively combined various American musical idioms (black gospel, blues and rhythm-and-blues, and white country-and-western) into a distinctively new form.