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[…]reading depends, therefore, upon how effectively the writer’s artistic impulses and vision are encoded in machine language – quite a different matter from encoding the products of these in verbal form. Needless to say, the poetics of programming are less developed than those of the more familiar variety. As an expressive medium, executable binary code has managed to reach a state of development roughly equivalent to writing when it was preserved on unwieldy clay tablets, understood by few, and incapable even of representing the entire vocabulary of spoken language. Just as no one could have foreseen the full flowering of […]
[…]organized body, recapitulated in the hierarchical organization of each of its members, nomads, a group to be sure, a body to be sure, are not organisms, not organizations, neither as a whole nor in terms of individual components. They comprise a field rather than a set of individuals. Members of the state have “feelings,” nomads have “affects;” members of the state “communicate,” nomads “signal” – all of which is to say that members of the state, like the state itself in its executive dimension, have a complex interiority whose nature is, in the process of state function, made manifest, the […]
[…]or Crozier. Crozier, not only a librettist, but a founding father of both the English Opera Group and the Aldeburgh Festival, felt that Britten always had “a particular favorite upon whom he would lavish affection, while foreseeing with a grim kind of pleasure the day when that special friend would be cast off.” Britten told Crozier that Montague Slater was “one of [his] corpses,” adding that Crozier himself would “be one, too, one day.” Even Auden, to the end of his life, referred to Britten’s break with him as “a permanent grief.” Instead of the sense of generous inclusion that […]
[…]both cultural feminism and poststructuralist feminism, Plumwood proposes a feminism of “critical affirmation” that treats “woman’s identity as an important if problematic tradition which requires critical reconstruction” (64). She criticizes the “dissolution of gender identity through destabilization and the definitive act of parody recommended by poststructuralists” because it “amounts to the formation of anti-identities which become further identities. But these identities are not independent. They are still defined essentially in relation to the objects of parody which originate in the problematic of colonisation” (63). In a footnote, Plumwood misreads Butler’s concept of performative identity as assuming a great deal of […]
[…]ecology would seem a particularly debased version of this failure. Such a reading echoes in the critical backlash to Cagean eco-politics, focused on the reactionary fetishism in claims “to let sounds be themselves rather than vehicles for man-made theories of expressions of human sentiments” (Silence 10). From this point of view, Cage’s claim to non-intentionality is a happy-face elitism of the avant-garde. The chance compositions appear naive decontextualizations, and in the resulting inertia and insistent banality is read the citation of former contexts. De-crypting and animating a specter of media’s historical sediment is the commonplace of new media studies. It […]
[…]studies of bodies, bodiedness, and gender with a cultural assessment of the meanings and workings of technology. And despite its critical sophistication, Balsamo remembers to tie her observations and insights to the real world and to social and political movements for change. Thus she succeeds in showing us the following: As is often the case when seemingly stable boundaries are displaced by technological innovation (human/artificial, life/death, nature/culture), other boundaries are more vigilantly guarded. Indeed, the gendered boundary between male and female is one border that remains heavily guarded despite new technologized ways to rewrite the physical body in the flesh. […]
[…]of America offered from these mostly European critics, the collection poses a local problem for critical writing: Under circumstances of simulation, working in the nonspace of Baudrillard’s hyperreal and the virtual reality of cybernetic media, what’s left for criticism itself to do? When literature’s most compelling historical fictions have “long given up the binary concept of fact versus imagination” and when mass media imagery has made “the very concept of ‘representation’…problematic,” it makes little sense to think of criticism as a mediation between fiction and reality, or as a guide to the imaginative life of great and distant authors. Close […]
[…]the metalanguage’s quest is defined at the last possible moment as a new language object” (Critical Essays). For academic readers, the presence of an intellectual, scholarly register in IN.S.OMNIA discourse marks its difference from most iconoclastic groups seeking to bring writing out of its ivory tower of babble. (Invisible Rendezvous dog-ears pages from Influential French of the ’70s (Derrida, Barthes)) and aligns itself alongside hypertext champions from within the institution (Jay Bolter and George Landow), but it also differentiates itself from either set of writings by its joyful pragmatism and savvy. For instance, while they embrace the Derridean aphorism that […]
[…]Sokal accuses the humanists and social scientists who populate the burgeoning field of science studies – scholars who tend to be critical of contemporary technoscience and its effects – of ignorance masked by the jargon of fashionable theories. He claims that this ignorance allowed his original article, filled with obviously erroneous scientific claims, to be passed unchecked into the pages of Social Text. Stung by his criticisms, the editors of Social Text, Bruce Robbins and Andrew Ross, responded swiftly with a broadside questioning Sokal’s change of heart, his ethics, and his understanding of his target. One gets a certain illicit […]
[…]Fish finding it easier to say why the proffered solutions – e.g., new historicism, cultural studies, interdisciplinary studies, and so on – are not the answer. Here, his most forceful rebuttals are offered in lectures three, “Disciplinary Tasks and Political Intentions,” and four, “Looking Elsewhere: Cultural Studies and Interdisciplinarity.” In the first of these, Fish stresses the need to “distinguish between the general (and trivial) sense in which everything is political – the sense in which every action is ultimately rooted in a contestable point of origin – and the more usual sense of ‘political’ when the word is used […]