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[…]in an analog – as opposed to digital – fashion on magnetic tape (today’s high-end studios encode music as distinct digital bits rather than magnetic “waves”). Dubmasters saturate individual instruments with reverb, phase, and delay; abruptly drop voices, drums, and guitars in and out of the mix; strip the music down to the bare bones of rhythm and then build it up again through layers of inhuman echoes, electronic ectoplasm, cosmic rays. Good dub sounds like the recording studio itself has begun to hallucinate. Dub arose from doubling – the common Jamaican practice of reconfiguring or “versioning” a prerecorded track […]
[…]conscious, their poetics of indeterminacy opens itself to all possible manifestations of semiotic code. These are not poems so much as environments outside of, perhaps astride, the contingencies of system. As Raworth intones, playing with categorical statements obviously offered with a mischievous grin: “the object of art is no longer to be outside and to be thought about – but to stick the electric wires into the dead dog of language and get a twitch” (“Notebook” 99). In less graphic terms, he also offers that “It is now known […] that our knowledge is as the memories of the blind” […]
[…]to the absent author of late-century avant-garde poetics), Montreal’s ‘fiction/theory’ group took issues of writing-in-the-feminine (l’ecriture au feminin) in response to French formalism’s death of the author” (11). Both groups foreground the writing subject as a subject-in-process in order to examine the ways identity can be formed and (de)formed by narrative. By dispensing with the ideology of national literatures, Biting the Error removes the borders between Canadian and American writing to engender a consideration of the commonality between fiction/theory and New Narrative. What makes Biting the Error exciting is that it explores how urban literary communities form and prosper within […]
[…]‘transparency’ of intent. Rhythm science is a forensic investigation of sound as a vector of coded language that goes from the physical to the informational and back again” (004-005). Which is to say, the structures of authority in this text sustain a narrow sense of writing, as the encoded sonic, as a name, to which design is subservient, and to which returns the authorial problematic. Feedback loop to the author function. This loop permits us to further scratch into this text. Rhythm science isn’t just about sound, of course. Imagery, whether presented on canvas or seen as a series of […]
[…]you as well; to pick only one example, Jonathan Tweet’s Over the Edge tells us: This game is a coded message. You will decode the message in your dreams and execute its instructions in the spaces between moments of will. Neither you nor I will ever know the contents of the message. (Over the Edge 1997, 2) The authors, artists, and theoreticians in Second Person address the exigencies of playable media in a number of ways, and in a number of voices. Some essays are informal in tone, some academic, and some highly technical; this polyglot speaks to the varied […]
[…]outside the patriarchial, if patriarchy is the source and means of your oppression, in order to be critical of what’s determined the range and facility, and set the agenda, of your thinking – if you’ve been taught to think yourself (always unknowingly) only as the oppressed? How, in other words, to think otherwise? Which isn’t quite Oedipa’s dilemma, of course. But close. Her problem is that she can’t decide whether an occult postal system called the Trystero, whose operations may have determined the course of Western history, is real or not. If it’s real, then our history isn’t – for […]
[…]turns into an event – writing is an event, a play upon the process of “is,” a working that cannot (at any given moment) trace, catch, relay, or dwell upon the physicality and temporality of an “is” as “is” is worked on by so many things seen/unseen, solid/phantastic, past/present (the event, this writing event, has no decided purpose, no pre-set outcome, no lesson or demand – although, as a loving of what happens as one goes along, it might bring a fragile calm): ‘Making an event – however small – is the most delicate thing in the world: the opposite […]
[…]becomes virtualized and knowledge militarized, particularly under the aegis of so-called “area studies”. It’s hard not to see this as a Pacific version of the notorious argument that the Gulag and/or the Holocaust reveal the exhaustion of modernity. And the first thing one has to say is that this interpretation of war as no longer “the physical, mechanical struggles between combative oppositional groups” (33), as now transformed into a matter technology and vision, puts Chow in some uncomfortable intellectual company: like that of Donald Rumsfeld, whose recent humiliation is a timely reminder that wars continue to depend on the deployment […]
[…]that nothing is simply, or “naturally,” what it is? These are big questions, both for cultural studies, which has been guilty in the past of reducing the world to words, and for science, which, apt to see things otherwise, is perhaps only now becoming more seriously aware of the limitations of representation. But such questions beg another, more immediate question. Whose performativity theory is this? Livingston glosses over the divisions and differences within the realm of theory regarding the limits of performativity as a viable ontology. There is a lot of discussion and debate that is happening now, though we […]
[…]empty or formal (7). They are said to stand for thought or action (6). Highly sophisticated social codes are formed from such signs: expressions or gestures have the power to convince those present of one’s status, or otherwise to expose oneself as out of place. As we know, they point to no origin; they appear sterile, pointless. The signs of love are actions between bodies, but human beings construct, also, massively complex systems of strictly formal signs, which seem to have nothing to do with love and nothing to do with art. Deleuze nevertheless insists that they are crucial, that […]