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[…]pleasure or pain is precisely calibrated and coded to the information. The pornographic image is coded for desire, the image of a child coded for sympathy. Intense pain is unmeasured, uncoded, and yet utterly consuming for the sufferer. The abjection or terror I feel in the face of suffering may be in response to this “sublime” distance, a sublimity that maps the edges of the network. The sufferer of intense pain who suffers in and through every image and every word is possibly a model of reference, of the mapping of the body to the network. Referentiality is precisely not […]
[…]of reading and language, it also creates new ones. “Spacing Reading” aims to foreground the critical potential of the shift in dynamics and the capacity it enables to redefine language relations, such as syntax, semantics, translation, genre. I have called this “inextrinsic” because it embodies a contradiction, or tension (“in-ex”); “intrinsic” because it takes the human reader into deep or underlying structures of poetic language invisible before digital media and the virtual; “extrinsic” because this new way of reading then moves to foreground associative, or metonymic, traces. A new Subjectivity in language is glimpsed, while at the same time, language […]
[…]young Townshend to “installations combining vibrant colour, lighting, TV screens, and complex coded music” (56). The American painters Larry Rivers and Ron Kitaj, both of who rejected Abstract Expressionism to create flat, parodist distortions of figuration and realism, teach at Ealing Art College, too. The most influential mentor at school is the Fluxus or Anti-Art figure Gustav Metzger; decades after his Ealing Art College days, Townshend bankrolls Metzger’s first solo show at MOMA Oxford (464). Born into a Jewish family in Nuremberg, Metzger fled Nazi Germany. As an expatriate artist in England in the 1940s and ’50s, Metzger found that, […]
[…]brief references. It is with this aspect in mind that Melley’s book needs to be approached; the critical tradition that it operates within obviously exists in conjunction to an argument that, on the face of it, submits no clear vectors of resistance. Yet to interpret it in a light of an unhappy but exitless narrative of resignation is to miss the point, which lies less in the articulation than in an application of a process of thought that insists on a critical, uncompromising response to the state of emergency. “[W]e have institutionalized undemocratic means of preserving our democracy” (222): the […]
[…]of non-fictional texts. Social discourses are activated to provide the site of Tomasula’s critical intervention. In other words, the decision to cut off the signifier of the severing operation–using “vas” for vasectomy, or in other words, reducing vasectomy to “vas”—symbolically disables the State apparatus organizing the sterilization campaigns, literally depriving it of its capacity to contain people, vasectomizing the vasectomizers, so to speak. The morphological neutralization of vasectomy by subtraction finds a macro-structural equivalent in the strategic juxtaposition of biopolitical positions and their refutations. Such a layout desemanticizes the aggressive declarations by blocking their full deployment to avoid turning VAS into […]
[…]and Lawson Jaramillo, Cynthia. 2007. “Dovetailing Details Fly Apart—All Over, Again, in Code, in Poetry, in Chreods.” http://www.slippingglimpse.org/pocode Strickland, Stephanie, Cynthia Lawson Jaramillo and Paul Ryan. 2007. slippingglimpse. http://slippingglimpse.org/ Stoppard, Tom. 1993. Arcadia. Faber and Faber: London. Thom, René. 1980. Modèles mathématiques de la morphogénèse. Christian Bourgeois Editeur. Tomasula, Steve. 2004. [First published in 2002] VAS: AN OPERA IN FLATLAND. [Art Design by Stephen Farrell]. Chicago : University of Chicago Press. Waddington, Conrad Hal 1977. “Stabilisation in Systems: Chreods and Epigenetic Landscapes.” Futures. Volume 9, Issue 2, April 1977, 139–146. […]
[…]existence…. (237) Ryan’s observation partially reflects the electronic medium in which he is working—as she notes, “you never know if you have seen all the nodes and followed all the links” (226)—but is just as much a feature of Joyce’s handling of point of view and his use of poetic, suggestive images. In Reading Network Fiction Ciccoricco links Joyce’s claims about contours and flow to the organization of some of his electronic works: “Contours are the shape of what we think we see as we see it but that we know we have seen only after we move over them, […]
[…]the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. As Nietzsche says on brainyquote.com, “The future of the ELO influences the present just as much as the past.” When we submitted proposals to ELO, ELO 2012 was the future. For now, it is the present, but it will soon be past. Naturally, we find the future in the present, informed as it is by the past. For this panel, I’ve been asked to offer a few ideas about […]
[…]the concrete to the poetic to the theoretical, the following nine short statements were made by a group of emerging artists, scholars, and practitioners from a variety of disciplines and backgrounds. This video documents a presentation developed for the ‘Future of Electronic Literature’ panel at ELO 2012: Electrifying Literature: Affordances and Constraints June 20-23, 2012 Morgantown, WV The video was made in 2 weeks prior to conference using 123D. Voiceover was partially improvised at conference, then re-recorded afterwards. [Text voiceover from video] I have no idea What the future Will really bring I have no idea What time sings […]
[…]post-Platonic forms gesture toward a kind of cybernetic beauty (yes) for which there’s no critical vocabulary as yet. When Matthew G. Kirschenbaum speaks of the “radical aestheticization of information,” he means to suggest, I think, that the work of the artist in the “information age” is not – as hostile critics of postmodernism contend – only the critical work of resistance to informational transparency, or pure unadorned utility. The artist’s work is also the constructive work of noticing “accidental” aesthetics at play, not as by-products but as primary cultural contexts for the production of technology. Better yet, it is the […]