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[…]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 […]
[…]seven thousand dollars a year (and rarely more than fifteen), by adjuncts (former grad students) working at similar rates of pay, and nontenurable instructors with huge workloads and no research agenda. Similarly, research is increasingly performed by a corps of assistants, technicians, and grad students under the supervision of a tenured member of the faculty (who takes the credit, and a better paycheck, but whose own life may well be diminished by the compulsion to serve as a manager, rather than a teacher and scholar). My own contribution to this section discusses the “information university” as a place where grad […]
[…]and communities. Chris Carter ‘s interview with Greg Ulmer traverses many of these themes of critical, experimental, and progressive pedagogy. Exploring the relationship between writing technologies and the formation of critical/resistant subjectivities, Ulmer’s various pedagogical experiments startle but also rebuild, dislodging students and teachers from the ossified relation of discipline and assessment, but preparing them also for a new relationship in shared commitments to social transformation. In such projects as the Florida Research Ensemble, the MeMorial, and the EmerAgency, Ulmer hopes to support the emergence of project identities both collectively conscious of collaborative commitment to emergent issues of justice and […]
[…]Barthes’ jouissance calls up a rapturous, climactic, or even violent bliss in which cultural codes and forms are fractured or transgressed. Joyce, by contrast, invokes Contour to feel the forms we create but cannot see: “I had in mind…the sense of a lover’s caress in which the form expresses itself in successiveness without necessarily any fixation” (167). Both seek a pleasure devoid of intention – from the text as it exists, not as it intends. But Joyce plays more to the tune of the never-ending story in that, unlike Barthes, the pleasure of his text comes without necessarily any climax, […]
[…]but with walls to slam themselves against, this wild, disciplined rough-work straight-faced group” (359). Gravity itself, the novel suggests, is a source of injury, but art may seize it, mold it into “great paths, curves, inertial, intersecting” (418), and hand it back to us as a conscious experience, stripped of some of its ominous force. 4. It was somewhat decentralized, how it all networked While the elegantly curved surfaces of Actress in the House move the reader forward and backward along thematic lines, McElroy’s experiment with narrative structure nevertheless induces a sense of interpretive paranoia. Not for a moment does […]