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[…]is a kind of hyper-rational way of winning the game) * Madoff’s two chief programmers played a critical role in his own huge “Ponzi scheme,” not because they wrote programs, but because “they used their special computer skills to create sophisticated, credible and entirely phony trading records that were critical to the success of Madoff’s scheme” (“Madoff’s Former IT Experts Arrested”) * I put “Ponzi scheme” in quotation marks because it’s now clear that much of the entire market bubble was due to a different kind of computational deception. As Frontline recently reported, CFTC Chair Brooksley Born alerted Congress to […]
[…]play. Who is the implied spectator – what is the subject position for which Canyonlands codes? A witness perhaps. A silent witness, passive in her frozen inertia; perhaps a widow of the canyon, a grief stricken witness. This witness is unable to think, unable even to bear witness, perhaps, since the ekphrastic intensity of image and sound allow no space for her. She is crushed to a one-dimensional line between the superego of the desert and its dry voice of judgment, and the id of the capitalist enjoyment machine. There it is, unfolding onscreen, in all its terrible beauty and […]
[…]concepts (such as “postmodern” and “simulation”) which are in danger of degenerating from critical clarity into cliché. The scope of Punday’s argument is striking, as he ranges an analytical alphabet from Adorno to Žižek, and employs diverse and difficult critical concepts with remarkable clarity and fluency. However, there are certain points where the centrifugal forces and ambitions of the analysis appear to strain at the limits of the restrictive structuring motif. For example, although the grouping of Walker and Warhol under the archive heading highlights certain salient parallels between their respective projects, the absence of any commentary on their markedly […]
[…]or recuperable for writers whose every word is no more than data entered in the hexadecimal codes of a software program. Kittler remarks, in fact, that “no human being writes anymore…. Today, human writing runs through inscriptions burnt into silicon by electronic lithography…. The last historic act of writing may thus have been in the late seventies when a team of Intel engineers [plotted] the hardware architecture of their first integrated microprocessor.” Dialing back as far as Frank Norris’s McTeague (1899), Wutz shows how profoundly disturbing was the introduction of the typewriter to “Norris’s idea of authorial agency, registering as […]
[…]even of a spider swimming through a tree, practiced in our actual perceptions. Which we’re working on, to see better like a quantum counterpart or osmosis we’re in the midst of. So, like witness, weighty impediment, reciprocal lens seeming to tell us about ourselves with each other, is water thus our shared incompleteness? Doubting the Gaia theorists, I am willing to wait, a form of listening, for signs that the Gulf Stream is a living organism even if just the conveyor for passengers, such as plankton, Sargassum weed, dolphins, and, at least until recently, 600-pound bluefin tuna. In the current […]
[…]of the patron saint of elevators. Like the Pompidou Center in Paris, this material exposes the working guts of symbolic structures. The material also, I think, makes a claim for knowledge independent of intuition or basic empiricism – for specialized information not usually found in fiction. Call this information a Thirdsource. The passages about the elevator in turn make the pages of The Intuitionist a textual Thirdspace, for the elevator material is, in Soja’s terms, both real and imagined, researched and invented. The material may seem marginal to plot and character but is central to the book as a hybrid […]
[…]creative writing programs and book awards in the literary marketplace. Circulation and reception studies invoke the market not only in terms of the dissemination of literary texts but also as a kind of democratic, cosmopolitan public, one that counters older conceptions of the literary text as inviolate, impersonal, and distant from the contaminations of mass culture. These ways of thinking economics into literature are vital to literary studies today. Michael Clune’s American Literature and the Free Market, 1945-2000 persuasively argues for a different, formally sophisticated mode of engaging with economics and literature that provocatively posits an intimate relationship between literary […]
[…]using what others have said to think through what is happening at the moment. The player is working out what has happened in life, not dwelling on the past but reworking it like “a jump of memory answering answer” (260). If “the beat is all” it’s because it is the measure as a man composing is the measurer of all things, and working out the details in his work the jazz player begins to tell a story and hint at the title the piece he’s working which will be given by an unknown woman later at a club, “Coastline”: The […]
[…]and reader, between the codes given by a text and the choices readers make in interpreting those codes. At times, the writing of Penthouse-F signals a kind of literary seriousness, in prose that attains to the tradition the book so clearly cherishes. Describing an act of warmth and contact with his captives (a foot massage), Kalich muses, “An even greater sense of power and erotic command enveloped me as I observed the girl’s imploring, pleading eyes begging that I do the same for the boy, asking nothing for himself, but rather only for the girl” (178). Yet the text undermines […]
[…]points of view, focusing as they do on “Brian” and “Brad”‘s activities apart from the group consciousness. Yet, as with everything in The Sluts, what is real is indeterminate. What is real is only language, and much of it floats, unanchored in veracity or certainty. If the violence of the prose in the George Miles Cycle often reduces character to language, to inscribability, in The Sluts even language is unsettled – the words used to describe Brad are comically, emphatically inconsistent. As Baker has observed, the information reported by his reviewers gives Brad seven different heights, ten different weights; his […]