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[…]Americans and Europeans, and Neal Stephenson’s Cryptonomicon (1999) investigates code-makers and code-breakers in World War II and the present day. While all of these novels possess the breadth, scope, and length of earlier postmodern historical novels, such as John Barth’s The Sot-Weed Factor (1960), Pynchon’s Gravity’s Rainbow (1973), and Robert Coover’s The Public Burning (1977), they neither reflect their predecessors’ disinterest in character nor their primary concern with using fantasy and, in David Foster Wallace’s words, “rebellious irony” to criticize American society and expose its historical assumptions and hypocrisies (66). These recent postmodern historical novels, rather, simultaneously share their predecessors’ […]
[…]presence as his father’s voice slowly becomes unvoiced and yet reiterated as a general social code. As I say, all of this is encoded, if you will, into the structures of the sentences in the novel. Let me offer just the opening sentences of the novel as a paradigm of what I have been arguing. As the novel opens we read: The woman holding, then handing over the letter to this poised, dumbfounded fifteen-year-old: is the letter also hers? She’s been busy, her hands are anything but idle here in a room of a city apartment, but today what belongs […]
[…]and transparency of the process. Stuart Marsh, of the British Geological Survey Remote Sensing Group, talked about Geohazards and the IS. He noted that citizens are the ultimate beneficiaries, and suggested that there are three main user groups of geohazards information: “responsible authorities”, scientists in monitoring and government agencies, and research scientists. They have different needs, e.g., baseline inventory of hazards, monitoring, rapid dissemination of information during a crisis, etc. He noted, as did the others in the session, the need for an integrated approach from surface to space, and the need for but difficulty in bringing together the different […]
[…]Warhol nightclub denizens, plastic action figures) evoked prosaic leather-and-fatigue ordinary working-class Joes, fellas, a latter-day waterfront of Hubert Selby’s Last Exit to Brooklyn, with self-critique-as-self-congratulations in another homage to New York, “City of Blinding Lights,” where “They’re advertising in the skies/for people like us.” And in the blogs and discussion swirling around the new disk and the critical and media junket, we hear that Boy’s raw existential tone might have been partly Bono’s response to the death of his mother when the writer was fourteen years old, and Bono, performing at the Grammy’s in February 2005, made clear that Atomic […]
[…]Communist factories, an attempt to reify an experience just in case you forgot that you weren’t working for a classless Utopia. This kind of writing demonstrates a lack of trust in letting words do what they can do, and which music and images can’t do, such as be contradictory, paradoxical, and – as the famous Eliza program demonstrates – psychologically ventriloquistic, suggesting the presence of another human in the room – in your head – when there clearly isn’t one. Visual paradoxes such as those of M.C. Escher will never be more than analogies for the power of a paradox […]
[…]homology between the theological and political makes clearer what’s at stake: Jews map onto the working class (both social groups retaining an ontological, empirically verifiable component) whereas Christians map onto the proletariat (both being defined solely by their members “assuming a certain subjective stance”) (Ticklish Subject 226-7). For Žižek, the latter groups are – in theory – more inclusive and more liberated and therefore preferable. Christianity: The Perverse Core vs. The Subversive KernelSo much for the allusive title. Now what about that scandalous subtitle? “The perverse core of Christianity” has nothing, necessarily, to do with widely stigmatized behaviors or aberrant […]
[…]technologies, and of programming and its hardware, is missing. When Hardt and Negri describe media studies, they refer to ideology critiques and sociological studies of corporate media, contrasting the latter’s apocalyptical tone with the Birmingham school’s more sensible recognition that public opinion – the new civil society – is a cramped space defined by relations of power but potentially traversed by two-sided communication. In short, these studies remain at the level of content. Missing from Marxist theories of immaterial labor and post-Fordist technologies, like Multitude or Paolo Virno’s A Grammar for the Multitude, is a media theory. There is No […]
[…]the while on acknowledgment, much like the nodes that Carolyn Guertin describes in the feminist group, The Old Boys’ Network.“Another cyberfeminist collective, the Old Boys’ Network,” Guertin argues, “defined its local chapters as ‘nodes’ that ‘collide, disintegrate, regenerate, engage, disembody, reform, collapse, renew, abandon, revise, revitalize, and expand'” (OBN FAQ 7). The waves produced by the electronic book review are of this nature – small, insistent, eroding efforts to make a difference, to inch feminism in the direction of its own demise, a terminus coinciding with the end of discrimination against people on the basis of gender, race, class, ability, […]
[…]Editions compilation entitled Magnified Section. This book features work by, among others, Critical Art Ensemble, a group with one member, Steve Kurtz, currently enmeshed in legal difficulties, with charges filed against him by the FBI and Department of Homeland Security Joint Terrorism Task Force for illegally trading in biological substances that actually are legal for trade, a prosecution that is widely seen in the artistic community as ideologically based.For more information see the CAE official website. In short, Magnified Section is one of those great publications one can only find done by a micro-press: simultaneous art object and slapdash, cheap […]
[…]How has your academic work fed into your fiction? Siegel: My academic training is in Indian studies and has served me in writing about India in both Love in a Dead Language and Love and Other Games of Chance. I haven’t given up academic endeavors. I’m currently translating a long Sanskrit love poem, the Gitagovinda, for the Clay Sanskrit Library. Burn: How is that going? Siegel: I took on the translation because, although I have some ideas for a new novel, I don’t really want to write fiction any more until I see the fate of the Ponce de Leon […]