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[…]silent because my presentation was just so non-academic. You know these are all people who are working on books, they’re working on chapters in an anthology, they’re working on their doctorate, and it was just a really funny contrast. But it occurred to me at that moment “yet here I am,” you know, so there is something that’s causing a bit of a bridge there to academia. I just sat there and I remember thinking in my mind we’re going to get to the end of this and I’m not going to have been asked a single question, whereas the […]
[…]installing innumerable traffic lights, or anonymous programmers, writing billions of lines of code, have shaped ours. The mound builders must have realized that by rising higher, they were not only able to see further, but understand more deeply the fabric of life they were part of. Using Google EarthPro we can get a intimation of why they revered the bird, soaring above them at 38°39’33.64″N 90°04’27.69″W. But instead of just looking at the pictures, look at the Pro data that makes this view possible: Imagery Date 3/13/2022 38°39’33.64″N 90°04’27.69″W elev 0 ft eye alt 3281 ft Image © 2024 Airbus. […]
[…]feedback loops happening, but it really is a networked thing. And you can see this in the way that groups treat characters like you’ll have fandom, and everybody will converge on an idea of who that character is. And sometimes it’s quite different than what’s in the original work, but because everybody has been writing these stories, they come together as one characterization. FK: The other thing I was going to mention is that it can be tempting to say, well, there’s fan studies and there’s all this stuff and that’s basically social science research. Maybe you could do literary […]
[…]technological change will reshape the future persist, making the case for the continued value of critical literacies, with an emphasis on critical reading of and making with technology from within the humanities, rather than naïve reading practices and technological determinism in the face of emerging technologies. Works Cited Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins University Press, 1997. Aguilera, Earl, and Jessica Z. Pandya. “Critical Literacies in a Digital Age: Current and Future Issues.” Pedagogies 16.2 (2021): 103–10. Burn, Stephen J. “The Collapse of Everything: William Gaddis and the Encyclopedic Novel.” In Paper Empire: William Gaddis […]
[…]American life and letters. He discussed a wide range of topics at St. Michael’s, including critical responses to The Recognitions and J R, the pernicious influence of corporatism on American culture, the Protestant work ethic, the philosophy of pragmatism, the promise and degradation of the American Dream, as well as the legacy of Watergate, the win-at-all-costs ethos of football coach Vince Lombardi, J. Paul Getty’s How to be Rich, James Baldwin’s The Fire Next Time, and Bob Rafelson’s film Five Easy Pieces. On December 9th, the lecture was broadcast on Vermont Public Radio. The recording is collected in the American […]
[…]felt it would be even more difficult to try to convey that in J R than it is in The Recognitions. Working with the dialogues and working with this oral register in a way that wouldn’t sound too informal or even too pedantic, in many ways, was a difficult challenge in Portuguese. Max Nestelieiev: For me, the hardest part was, as I said, rhythm which depends on the length of the words. The other hard part was punctuation and syntax, which also depend on the length of the words and the differences between syntax and punctuation, English and Ukrainian. Yoshihiko […]
[…]fact that the fundamental disputes within copyright law effectively reiterate this hoary literary-critical debate. But the larger problem Gaddis is identifying is that in attempting to clarify experience to enable justice, legal language designed for business contracts fails to make sense of aesthetic experience without deforming it. Oscar cannot elucidate his point in the deposition, easily led into traps the Hollywood studio’s pricey lawyer sets for him. In that sense, corporate law cannot make sense of the heresy of paraphrase because it does not see the profit in the heresy and cannot monetize the particular aesthetic experience represented (and heresied). […]
[…](Peters; Parikka, A Geology of Media; Fan; Starosielski) and – with respect to the context in critical data studies – data as an assemblage (Kitchin and Laurialt) of wider cultural techniques of sensing, aggregation – and site-specificity. These helped to also outline techniques of knowledge beyond enumeration as they come to address infrastructures of data and the materiality of the digital (Offenhuber). Here the move from electronic literature on network platforms to the sites and infrastructures through which data, sensing, and inscription are expanded to elemental media becomes core to our argument. To execute this idea, our stories shift between […]
[…]threaten’d in this place!” I have plans to explore the Gaddis of contracts further in later critical work, but here, in the limited space of this archive-based piece, let me emphasize the counterintuitive aspects of Gaddis’s criticism of contract law in J R by referring to one of the novel’s most adroit readers. In a 2012 review of J R’s reissue by Dalkey Archive, Lee Konstantinou notes that Gibbs is citing nineteenth-century English jurist Henry Maine’s ideas, in Ancient Law (1861), about the movement from anchoring life in social institutions and their often hierarchical networks (Status) to grounding it in […]
[…]regrettable. Gass continues, “I could see [Gaddis’s] youthful love glowing plainly when our group visited Dostoyevsky’s apartment. The sight of the master’s desk actually wet Willy’s eyes. I envied him. When my eyes moistened, it was only for Bette Davis, and such a shallow show of weakness made me angry with my soul” (196-97). Their opposing opinions on Russian authors stand out because in practically every other way Gaddis and Gass were likeminded literary souls, and perhaps this kindredness is most plainly seen from a distance; that is, by looking at the arc of each man’s entire career. Both writers […]