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[…]an attitude, one must set oneself apart from the object of critique – one must view it “from a critical distance.” For the critically minded, the only alternative to critique is affirmation, or the mindless acceptance of the status quo. In Luhmann’s view, this theoretical attitude is played out: “The distinction between affirmative and critical fails to connect with what is empirically observable […] because it excludes the possibility that what has realized itself as society gives rise to the worst fears, but cannot be rejected. This is the case if one considers the evolutionary improbability of self-supporting structures, the […]
[…]human will (with just a little bit of nondenominational faith for good measure). It is critical that this interview is presented over the radio (the medium of Voice), and that the dancer inspires the Parkers to “personalize” their music by adding a singer. In other words, at a certain level, Ambient Parking Lot opts for a familiar configuration of human-centered agency. It is critical, as well, that this emphasis occurs in a rare (for this text) first-person narrative. The “I” in the dancer’s narration ultimately functions as an antidote to the propulsive drive of the “We”; it is a device […]
[…]intention and would insist instead that these names, words, and messages were knowingly encoded, but not by writers or authors; on the contrary, the paragrams would be “knowingly” encoded by language itself.” Jhave: No […]
[…]context, with the presence of an audience, albeit an invisible, online audience, and working in the “safe” private space of the rehearsal group. As Sawyer explains, “[r]ehearsal enables interactional synchrony to be established more quickly, but it also makes the group performance more predictable” (65), suggesting there is a tension between the need to build trust and work through possible “group riffs”, while at the same time avoiding creating too much familiarity and the associated potential loss of spontaneity. Once the “live” netprov was launched, participants did begin to post their pre-written materials, but gradually there was a shift from […]
[…]between human and other-than-human nature. The tremendous popularity of the selfie has produced studies, which trace its origin and distinguish in detail between user groups and occasions. The most prominent book-length study in English is Alicia Eler’s The Selfie-Generation: How Our Self Images Are Changing Our Notions of Privacy, Sex, Consent, and Culture (2017). While this study explains many less obvious purposes of the selfie, it fails to place the phenomenon in the context of environmental concerns. Often, the selfie does relate to the urge to appear popular, successful, and attractive online. It thus shifts focus from any surroundings to […]
[…]of the AEL is the first in this context, which includes activities such as conferences, workshops, studies, and networks. Closing the digital divide : The culture of collaboration between the writer and the programmer has not been sufficiently promoted in the Arabic e-lit context. Moreover, most Arab writers do not have a solid background in programming and computer software. This context created a digital gap between the Arabic e-lit and its world counterpart. As explained before, the comparison between the digital technology used in the current Arabic e-lit and that used in the ELC3 resulted in a clear digital divide. […]
[…]story about a spiritualist named John Murray Speare, who built a machine (under instruction from a group of helpful spirits known as the “Associated Electrizers”) that was intended to house the second coming. It was called the “New Motor” or the “Wonderful Infant.” A woman calling herself the “second Mary” lay near the device and simulated labor, summoning the spirit down into the machine, which moved, a little. (A mob smashed it.) This seems to me not just an eerie real-life update of Frankenstein, but a perfect parable for the times, and brings me back to literature. I think postmodernism […]
[…]time was raising funds to support the Georgian National Legion in Ukraine (Scott). However, the group’s weapon of choice is the ubiquitous “doge,” or Shiba Inu—badly represented, sometimes bordering on the aesthetics and ontologies of dank memes. Activists call themselves “fellas” (just like @SniperFella who proposed NewFellaLand) and specialize in viral content aimed at combating Kremlin war propaganda, including videos of the Russian army set to music, intently mocking the efforts of occupiers. Along with @SaintJavelin (a fundraising movement established in February 2022 by Chris Borys, a journalist with ties to Poland and Ukraine) they constitute a swarm of digital […]
[…]Funkhouser picks up where the previous book left off (around 1995) and makes a series of case studies that span about 15 years of Web based digital poetry. In these case studies, he maps out some of the most important developments in digital poetry, showing how writers from the first generation continued to develop their work in the 2nd generation or contemporary period. And while this book concluded with a nod towards some of the emerging platforms of the time: social media networks, mobile platforms, and Web APIs, its conceptualization of the field was aligned with Hayles’ notion of contemporary […]
[…]our tools, particularly visualization tools, has not yet been accompanied by a new regime for the critical interpretation of these tools; this critical regime is still in a fledgeling state. These digital tools entail “a methodological implementation and a paradigmatic inscription and finally determine singular epistemological postures” (Bigot, 2018), without the designers of the tools nor the researchers who use them always being aware of it. These devices hold normative power over research practices but also over conceptions of scientific knowledge. How might digital literature be of assistance to us in this shift from an epistemology of measure to an […]