2003
To understand differences between Islamic and Western aesthetics, Nick Spencer argues, is not the way to understand the WTC attacks.
New media in a book, metafiction in hypertext: the printed book, as yet, is the more hospitable medium. (The New Media Reader; Figurski at Findhorn on Acid.)
Chris Messenger achieves a rare convergence of elite and popular cultural criticism by doing for The Godfather (and its spinoffs) what previous critics have done for Uncle Tom's Cabin.
Human waste takes center stage in Dominique Laporte's unusual microhistory, a book as valuable for the anecdotes as for its argument.
According to Amy Elias, Paul Maltby's negation of the mystical Other forecloses 'the most interesting conversation': between a critic who does not believe in visionary moments and those writers and critics who do believe in them.
On Amy Elias's view of fabulation in the moment of American corporate power, a postmodern novelistic aesthetic that is consistent with Sir Walter Scott's early nineteenth-century mix of romance and Enlightenment-inspired historiography.
2002
Against the notion that music is the most abstract of art forms, Olivia Block thinks of music as a language with its own vocabulary of sounds, patterns, rhythms, notes. On the day of a performance in Kyoto, Japan, these reflections alter Block's sense of her own language, English, deconstructed by Japanese advertisements, tee-shirts, "American" candy-bar wrappers, and text-cell phones.
An argument against the collapse of categories by an author who has, yes, himself perpetrated a few codeworks.
A generous selection, with commentary and biographical background, for those coming newly to Matthias's work.
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.
Virginia Kuhn reviews an essay collection - Cybertext: Yearbook 2000 - ambivalent about its own printed status.
Recent fiction by Curtis White, Alex Shakar, Michael Martone, and others read through the lens of Gertrude Stein and Wittgenstein.
graphics: Artists Rights Society; Performance for MIDI keyboard, pianola configurations, and click-track:G. Schirmer Rental; studio portrait of Hedy Lamarr: Roy George and Associates.
Lance Olsen tells the story of a creative writing professor who walked.
Lev Manovich makes the first sustained case for a new media theory, but with cinema as his starting point he has a hard time engaging the non-representational artforms and aural explorations to be found there. So argues the Australian media writer, geniwate.
In the era of English Department Cultural Studies, does the study of literature belong to the poet-professors? Marjorie Perloff offers a view from the English Department of what CW can do.
David Radavich rethinks creative writing as an art of living - one of many.