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[…]sociological, and even archival research. Granted, after the heady days of literary and critical theory (of all flavors, e.g. Yale school deconstruction, Lacanian psychoanalysis, the “against theory” trend), there was a sense that, in the midst of it all, a little thing called “literature” was being forgotten. Now, everyone loves a good book (especially if it is also literature), and one would certainly bemoan its death or disappearance – which is nevertheless continually being reinvented, reproduced, and contested today via a range of new media. So the idea that a direct engagement with literature would necessitate a direct refusal of […]
[…]many but, at least in my view, both a necessary and inevitable attribute of such experimental, masocritical encounter. Masocritical suspension constitutes an immanent mode of response that heeds the event’s irreducible singularity, whereas representationalist judgment itself begins from outside the object or event to be judged, and the judging subject sits itself safely situated afar or above – seemingly unaffected and allegedly objective. The central question to ask of an event is not what one’s judgment of it should be but how response-ability itself is configured by the affects inhering the event – the answer to which is always singular […]
[…]one does not perceive when one perceives it” (in AR 204). The paradoxical logic of a system’s code (for example, the legal system, Wolfe remarks, operates on the code: “legal is legal”) can only be detected by an act of observation beyond the system, an act that cannot discern its own paradoxical system code. What Wolfe calls “the paradoxical identity of difference of any given first-order observation in a second-order plurality of horizontally distributed systems” pressures the distinction between reason/human and non-reason/animal. As Wolfe puts it, “[T]he human makes way for the animal, but only by means of the human […]
[…]On the contrary, I believe McGurl is daring us to agree with him. The Program Era, while critical of the constitutive inequities of capitalism, nevertheless disavows the declension narratives that have tended to dominate studies of both creative writing and the university, and asks us instead to appreciate, if not indeed to celebrate, their combined literary achievement. And this resistance, not to the system but to the temptation to analyze it in transcendent terms, could in fact be the basis for a certain rapprochement between academic critics and creative writers, but it can’t for that very reason derive from Lennon’s […]
[…]Sometimes code is reused by an individual programmer or software company, where the same bit of code might be used in different projects. The concept of code reuse is built right into modern programming languages. These languages each have what is referred to as a standard library of commands, types of data objects, and functions. This library is usually so large that all of it is not automatically included in every program; instead, programmers have to issue some command to copy the parts of the library that make the necessary objects and functions work. Here for example is a very […]
[…]critique and revision of aesthetic conventions, a task that is just as necessary in literary studies now as ever. Aside from television, a chief medium for serial narratives is comics. In his reading of Superman, Umberto Eco finds in seriality a mix of the novelistic and the mythic that seems to correspond roughly to O’Sullivan’s “necessary” and “possible.” Serial comics place contradictory demands on their characters: a figure like Superman must remain unchanged from issue to issue, but he must also vary his adventures enough to keep an audience interested. Eco describes this mixture of the eternal and new as […]
[…]217). With the significant exception of Deadwood, HBO’s glamour serials – those that garnered critical acclaim, and that the network made synonymous with its brand name – have always had their final season announced prospectively, so that the structure of valediction could be built into both the making and reception of that narrative. These “glamour serials” would include The Sopranos, Six Feet Under, Sex and the City, The Wire, and (perhaps less prominently) Oz – all of which aired for at least five seasons. So instead of a sense of expansion stretching to a distant point on the horizon, the […]
[…]by considering, among other things: cognitive science, bioethics, disciplinarity, disability studies, representationalism, architecture, photography, and film. The book’s critical intervention, that is to say, unfolds on many fronts, and the specific force of Wolfe’s posthumanism lies in its pointed vigilance, its ongoing responsibility, and its wary humility. As part of the refusal to see posthumanism as “the triumphal surpassing or unmasking of something”, What is Posthumanism? develops a thoroughly persuasive case for attending with care and patience to the specificity of the human – its ways of being in the world, its ways of knowing, observing, and describing – by…acknowledging […]
[…]identity-of-difference to which the first-order system must remain blind if it is to use that code to carry out its own operations and observations. But the same is true for any second-order observations as well.” That, as Wolfe puts it, the “joke” of Blur is on buildings that think they really are buildings brings to mind the “con games” of postmodern art is, arguably, not that far afield. See Ira Livingston’s Between Science and Literature: An Introduction to Autopoetics (2006).According to Luhmann, form effects the observation of art, and, so, to rewrite this “joke” in the parlance of systems theory, […]
[…]hole and dust) for the dossier they must submit to the City authorities to make their legal case. Working in close proximity, in the dark, leads to an affective exchange between the two tenants. Elizabeth feels Ernest’s anxiety (the only emotion, Jacques Lacan claimed, that doesn’t lie and an indicator of one’s proximity to the Real) and is so affected by his compassion that she falls in love, first with him and then with something larger, something more universal: He opened the front door as wide as it would go. Then he studied her with a worried expression. – Is […]