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[…]difference, and negotiation between competing petit recits. He also asserts a rather outdated critical narrative about what postmodernism is, reducing it not only to a marxist tributary but also limiting its appearance in literature pretty much to metafictional texts and specific kinds of political literature. The idea that postmodernism is a discourse that exists simply to knock things down without asserting anything – the mantra of “denaturalize,” “decenter,” “deligitimize” being now nearly a critical cliche – is not only a limited understanding of what postmodern critique does (Pynchon asserts values, as do Jameson and Baudrillard). It also ignores the past […]
[…]Electronic literature comprises a tiny percentage of texts that can lay claim to the close critical attention and careful reading that Montfort wants to gain for interactive fictions. Trying to kill off either parent, literary or computational, is more apt to result in infanticide rather than parricide. Literature and computer games are both doing very nicely these days; it is their hybrid offspring that is in danger. To see critics argue against either of this offspring’s parents reminds me of Freud’s analysis of the “narcissism of minor differences.” The phrase describes a common tragedy: a small group, infinitesimal compared to […]
[…]with the “link,” that this new organization “frees the new category from the chains of a critical-theory-influenced and essentially non-computational perspective.” And it is but a sheet-drop from there, it seems, to declaring that “the old collection called hypertext cannot continue to hold our interest as a critical category or as a category describing what literary efforts should be considered valid and worthy.” While I applaud the inclusion of more categories into whatever term we use to identify literature with a multilinear structure, I fail to see how that frees us from further consideration of Hypertext as “valid and worthy” […]
[…]by Ted Nelson. The platform seems similar to the type of interface that Apple computers has been working on for several years. (See Steven Johnson’s discussion of Apple’s Project X, now called HotSauce, in Interface Culture 94-98). Since Nelson’s Xanadu has pretty much fallen into obscurity, evidently others need to take up and concretize his causes. Indeed the authors conclude that the difficulties they face, those of expressing Nelson’s ideas accurately, are the same challenges that have plagued much of his work preventing its widespread circulation. In the spirit of the cyber-trait of recursivity, I return in closing to Yearbook […]
[…]to respond rather than contribute. Rita Raley (“Interferences: [Net.Writing] and the Practice of Codework”) remarks about the political implications of radical codework writing, which hopes ìto awaken us to ñ also to comment upon and recompile ñ the varied and various data streams that we engage, filter, and disregard while multi-tasking.î Despite the radical goals she describes, Raley locates codework poetry in the artistic traditions of e.e. cummings and Dada, and suggests that codework is one in a long line of textual and art objects. We may do better, however, to think of making art in this medium as producing […]
[…]and he devotes an entire chapter to unpacking multiplicity’s “technical background,” lucidly working out three mathematical concepts vital for understanding the virtual: the manifold, the vector field, and the theory of groups The manifold originated within the differential geometry of Friedrich Gauss and Bernhard Riemann when the former tapped into differential calculus to express rates of change and find instantaneous values. Applying these techniques to geometry, Gauss made it possible to study a two-dimensional curved surface as a space in its own right, without reference to a higher dimension. Whereas in the previous Cartesian methodology, such a space had first […]
[…]fame of the tallest buildings attracting tenants into expensive offices, explain nothing. The many critical statements that the buildings symbolized capitalism overlook the need for a building to produce a revelation from within its structures and functions. Such a revelation is not a meaning imposed on the exterior of buildings, it is the advent of a concept within the sensory experience. Let the meaning of a building as a symbol emerge from its specific materials, colors, and shapes, and from the style of life toward which the building summons people. If the architects get the right architectural combination of structures […]
[…]stated clearly, and early. The book is to be …an experiment in forging a vocabulary and set of critical practices responsive to the full spectrum of signifying components in print and electronic texts by grounding them in the materiality of the literary artifact. (p 6) After experiencing literature in a different way, engaging with the electronic interface of links and mouse clicks and constantly refreshing screens, a materiality unlike print, young Kaye skips backwards to see what in the past she overlooked. And she sees that the material qualities of print were also there all along. She concludes that a […]
[…]‘cultural studies’ style arguments are incomplete in Writing Machines. A cultural studies perspective would discuss the territorialization of critical inquiry itself. For example, is Hayles predisposed to talk about materiality because her meta-project is to develop territory in which ‘electronic writing’ is on a continuum with print literature? A successful synthesis of this putative continuum would be in the interests of a Professor of English and Design / Media Arts. Hayles includes visual media and programmed environments in MSA. Their relationship to ‘literature’ needs much further exploration, and whether this approach can be reconciled with existing disciplines is yet to […]
[…]the spate of recent work by or about Burroughs since the advent of Timothy S. Murphy’s landmark critical work, Wising Up the Marks: The Amodern William Burroughs (1997), followed soon after by the James Grauerholz- and Ira Silverberg- edited Word Virus: The William S. Burroughs Reader (1998), the locus would still be adding information about the most recent titles: Naked Lunch: The Restored Text edited by Grauerholz and Barry Miles (March 2003), Oliver Harris’s William Burroughs and the Secret of Fascination from Southern Illinois University Press, and the Harris-edited 50th-anniversary edition of Burroughs’ first novel, Junky, from Viking Press (both […]