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[…]Carey, Communication as Culture 13-36. —. “Communications and the Progressives.” Critical Studies in Mass Communication 6 (1989): 264-82. —. “Configurations of Culture, History, and Politics: James Carey in Conversation with Lawrence Grossberg, part 2.” Packer and Robinson: 199-225. —. Introduction. Carey, Communication as Culture 1-12. —. “Marshall McLuhan: Genealogy and Legacy.” Canadian Journal of Communication 23 (1998): 293-306. —. “Political Correctness and Cultural Studies.” James Carey: A Critical Reader. Ed. Catherine Warren and Eve Stryker Munson. Minneapolis: U of Minnesota P, 1997. 270-91. — . “Reconceiving ‘Mass’ and ‘Media’.” 1982. Carey, Communication as Culture 69-88. —. “Space, Time, and Communications.” […]
[…]in words and images, of key concepts in “resilience thinking,” together with case studies and an extensive bibliography. The site is sponsored by the Resilience Alliance, “a multidisciplinary research group that explores the dynamics of complex systems.” Stengers, Isabelle. “The Cosmopolitical Proposal.” Making Things Public: Atmospheres of Democracy. Ed. Bruno Latour and Peter Weibel. Cambridge: MIT Press, 2005. 994-1003. A key essay for establishing Stengers’ use of the term “cosmopolitics.” Most of her important work on this topic remains to be translated into English. Thoreau, Henry David. Walden, “Civil Disobedience,” and Other Writings. Ed. William Rossi. New York: Norton, 2008. […]
[…]on writing in electronic media. No doubt, rebranding such as the turn to Web 2 or Critical Code Studies provide added descriptive precision to the discourse. I am not making the banal point of questioning the value of these approaches, nor the value of what I call the literary critical discourse on electronic literature. Rather, I say our question should be, instead of the existence or essence or thing of electronic literature, I say we should ask: What is electronic literature after? By this I mean at least two things. Firstly, what does it desire? What do we want with […]
[…]in the early- and mid-twentieth century as being a key argument for the biological equality of groups (and, often, the relative equality of group cultures). This was not to say, however, that “racial” populations did not sometimes craft, nurture, and pass on, distinctive cultural traditions. One of Boas’s students, the anthropologist Zora Neale Hurston, worked to record such cultural traditions among African American populations in rural Florida and Afro-Caribbean populations in Haiti and Jamaica. She found folktales and religious traditions of hoodoo that were particular to some populations of African Americans living across the South; likewise, to her eye, Haitian […]
[…]consciousness, but rather with determining what the brain is. This return to ontology in cognitive studies, concerning what we know not how knowledge is constructed or narrated, has found a popular audience that eludes contemporary literary and cultural studies. A recent school in the field of New Media, known as “Object-Oriented Ontology,” similarly reflects this turn away from introspection, meaning, and agency, while bidding fair to activate a new popular audience through the sustained use of blogs, networks, and a whole range of media affordances that become, themselves, objects of knowledge. It’s that last characteristic, the creation and activation of […]
[…]up for the first time (and only once) in the concluding chapter. One feels the absence of these critical engagements more and more as the book goes on. Some might commend Chodat for eschewing poststructuralism and following his own, less familiar, critical and philosophical lights. Such “individualism” is indeed commendable, given the right circumstances, given the proper context. In the case of Worldly Acts, the refusal to engage with well-rehearsed, well-known poststructuralist investigations into the philosophy, history, and politics of agency opens up the book to the charge of anachronism. As for the “remarkable range of sentient things” (234) in […]
[…]Joss Whedon and Television Creativity.” Slayage: The Online International Journal of Buffy Studies 7. http://slayageonline.com/Numbers/slayage7.htm Lavery, David (2003). “Apocalyptic Apocalypses: The Narrative Eschatology of Buffy the Vampire Slayer.” Slayage: The Online International Journal of Buffy Studies 9. http://slayageonline.com/PDF/lavery2.pdf Lavery, David (2004). “‘I Only Had a Week’: TV Creativity and Quality Television.” Keynote address at Contemporary American Quality Television: An International Conference, Trinity College, Dublin. Lavery, David (2007). “The Island’s Greatest Mystery: Is Lost Science Fiction?” In The Essential Science Fictional Television Reader, edited by J. P. Telotte. Lexington: University Press of Kentucky. Lindelof, Damon (2006). Heroic Origins: An Interview with […]
[…]of dialogue. First of all, then, Derrida’s method, Davis argues, is to apply a “sufficient critical pressure” to a text to result in a “disruptive semantic excess” (28) – and note how Davis’ title (Critical Excess) has been severed, or spread out, or disseminated, into his characterization of Derrida’s method. If Derrida sees his work as a “duel of singularities”, of reading and writing, that he “writes toward … the event of another text” … literature “names something that cannot be contained by rules and principles” (29); and while the text demands “absolute fidelity,” there’s always a remainder (Lacan’s objet […]
[…]I look at an article in Russian, I say, ‘This is really written in English, but it has been coded in some strange symbols. I will now proceed to decode” (qtd. 65). And indeed, through most of the Cold War, MT energies and resources were funneled into translating (nominally, at any rate) more Soviet data than the human component of U.S. intelligence agencies could possibly process, even as the agents themselves were thereby absolved from any need to actually learn Russian (96–97). Lennon bends this in two directions: toward “the drive to optimize” (qtd. 63), on the one hand, that […]
[…]such as Noah Wardrip-Fruin (Expressive Processing), and Mark Marino (“L.A. Flood,” Critical Code Studies), among the many other artists and apostles of three-dimensional space. Beyond the Screen is divided into three sections, each of which considers one way that new media literary aesthetics can be said to move beyond the flat grid of the computer terminal. The first section considers the relation between literature and locative, spatially-informed media; the second offers diverse perspectives about the transformation of literary genres vis-à-vis digital media; and the third presents a short collection of essays that focus on the problems and practicalities involved in […]