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[…]lust, etc… ) are preserved across the vertebrates. “Cross-species affective neuroscience studies confirm that primary-process emotional feelings are organized within primitive subcortical regions of the brain that are anatomically, neurochemically, and functionally homologous in all mammals” Unfortunately for me in my quest for ethical superiority, the truths proposed or exposed by Drucker are subtle, nuanced, reflective, refractive, contextual, hilarious, and problematic. DownDrift refuses to be claimed as a repository for moral indignation. No stance is given a pure line. Hybridization complicates hunting. Society ferments. “A nursing mother whale, just a little offshore, pulls her calf tight to her teat. She […]
[…]had said. Sit back and watch in awe as one sophisticated critter eviscerates another on a color-coded screen. Much too bright or not enough to be convincing descriptions of nature. For the disillusioned, there are these three things: 1. sonorous cowboys hitch up primate dungarees 2. to restore the consolation of silence will remain the role of objects 3. four little girls, along with fragile creatures of many other kinds, will wander in and out of this color field just beyond our grasp Given the charge that the term Anthropocene implies – opening new territory beyond scientific and ethical neutrality […]
[…]change and even crisis (mad cow disease in the British countryside, gentrification of formerly working farms, abandoned city plots gone to seed, farm to table food contrasted with processed convenience food, polar landscapes on which masculinist/nationalist fantasies are projected), but Bracke does not do the critical work to connect these varied environmental crises to the climate crisis of her title and introduction. In fact, Chapter 1 is the section of the book that comes closest to addressing climate and narrative. Chapter 2 focuses on “pastoral” narratives where the novels under consideration draw upon tropes of an idyllic British countryside in […]
[…]as “Ours Lingages” for eloPorto, where we used language learning tools, collective writing, code, voices, dance, singing, audience participation and a blindfold, had a protocol that could be easily memorized and was not rehearsed. As using “behavioral art” was not an option, I had to find something else. Maybe “agency art” would be better. Arjen Mulder uses it in his article “The Beauty of Agency Art” from 2012. In this article, visiting thinkers as diverse as Shannon, Wiener, MacKay, McLuhan, Cassirer, Langer, Gell, Latour, Heidegger, Derrida, Badiou, Rancière, Danto, Whitehead, Steiner, Rolnik, Deleuze and Guattari, he sets out to see […]
[…]who contradicted official government pronouncements of safety. Promulgators of fūhyōhigai were coded as harming the regional and national financial recovery after Fukushima, and thus as oppositional to the collective welfare of Japan. As Kimura argues, “After the Fukushima accident, the concept was used to describe people who avoided foods from affected areas as fearmongers who caused much suffering to the food producers” (Kimura 32). Sometimes the government’s pushback against forms of subjectivity that didn’t align with neoliberal norms was more pointedly gendered, as in the deployment of the derogatory phrase “radiation brain mom” to “deride these concerned mothers as hysterical […]
[…]Petromelancholia describes a structure of feeling that allows the messaging of corporate advocacy groups like the American Heartland Institute to resonate, touching deep attachments to energy infrastructures, which are also cultural infrastructures. Of petromelancholia, I wrote, What impedes the productive grieving of oil, if we’re to follow Freud in supposing that grief should be superseded by the taking of a new object, is that we, by which I mean myself and most Americans, refuse to acknowledge that conventional oil is running out and that Tough Oil isn’t the same resource, in terms of economic, social, and biological costs. Denial inhibits […]
[…]life sciences fieldworkers. This connection was made when some participants from my Glider study group were asked to use Diffraction during nighttime wildlife spotting routines, in order to consider how this may affect their experience with the more–than–human world. However, this preliminary involvement of participants is still ongoing.+++ References: Aagaard, Jesper. “Introducing Postphenomenological Research: a Brief and Selective Sketch of Phenomenological Research Methods.” International Journal of Qualitative Studies in Education, vol. 30, no. 6, 2016, pp. 519–533. Taylor and Frances Online: doi:10.1080/09518398.2016.1263884. Abram, David. The Spell of the Sensuous Perception and Language in a More–than–Human World. Vintage Books, 1997. Armstrong, Keith. “Embodying […]
[…]David. M. Critical Theory and the Digital. London: Bloomsbury, 2014. Print. Berry, David and Anders Fagerjord. Digital Humanities: Knowledge and Critique in a Digital Age. London: Polity Press, 2017. Print. Broken English. “Memes.” http://brokenenglish.lol 23/8/2019 Flores, Leo. “Third Generation Electronic Literature” electronic book review. 4/7/19 http://electronicbookreview.com/essay/third-generation-electronic-literature/ Hayles, N. Katherine. Electronic Literature: New Horizons for the Literary. Indiana: Notre Dame UP, 2008. Print. Hight, Craig. (2008) “The field of digital documentary: A challenge to documentary theorists” Studies in Documentary Film 2:1, pp3-8 Keating, Abigail. “Video-making, Harlem Shaking: Theorizing the interactive amateur” New Cinemas 11.2+3 (2013): 99-110 Montfort, Nick. “A Web Reply […]
[…]flatness. Analogously, Christopher Funkhouser suggests in Prehistoric Digital Poetry (2007), poets working with code have long sought to create texts that “make their essence apparent,” (3) that make legible and unmistakable their algorithmic bones. A poem that passes a poetic Turing Test will have instead cleverly obscured its digital nature. Moreover, such tests often take as their standard the well-worn forms of literary inheritance – sonnets, haikus, etc. (This includes, we should note, the Neukom Institute’s “Turing Tests in the Creative Arts”; Rockmore founded this contest and Booten is a former competitor.) To add to Funkhouser’s observation about the modernist […]
[…]project”), where it has garnered a fanbase committed to ensuring that the IF continues to have working emulators (such as Gargoyle or Windows Frotz) on which to run. In view of this, it is possible to discuss the omission of Slouching from the three ELC volumes without chagrin or fear for the longevity of the work. As Joseph Tabbi level-headedly pointed out while setting a direction for the Electronic Literature Directory in 2007, [p]romoters of e-literature should avoid sounding too disappointed about the ‘loss’ of established works of e-lit whose platforms are now outdated […] the vast majority of past […]