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[…]produced in dialogue with the reader’s interpretation; (2) sociocultural norms and values are critically interrogated; (3) common formal literary and linguistic conventions are skillfully deployed (even experimented with), while maintaining the evocative force of (1). The notion of the phantasmal as mental image and ideological construction is at the heart of the majority of highly regarded literary works, crucially distinguishing the imaginary in literary fiction from that in many other modes of art production. This dual notion is also at the heart of phantasmal media. Yet, because media today are mostly computational systems, the mental imagery they evoke needs to […]
[…]phrases, drawings and medical reports. There are four fonts, including Braille, and several color-coded words. On one level, the narrative in House of Leaves moves toward synthesis and order, as Truant, Navidson, and Zampanò amass and interpret information about the house and, perhaps unintentionally, about their own cluttered minds. But the discontinuities, presumptions, errors, and formal irregularity intensify as the novel progresses, exemplified by this passage, in which Truant encounters a monster in the tattoo parlor; horrified, Truant drops a tray of ink and coats himself in its blackness: The rest is in pieces. A scream, a howl, a roar. […]
[…]similar to writers and physicists. They come from everything we know that suddenly shifts into a working concept or formula. I wanted to enmesh so-called knowledge and facts with creativity, for lack of a better word. EBR: The term postmodernism has acquired largely negative connotations (e.g., “the cultural logic of late capitalism”), at least in the academy. At the same time, critics and teachers haven’t come up with another term to refer to innovative contemporary fiction. As trivial as they may sound, these taxonomic terms matter when curricula are created, and grants and publishing contracts are awarded. Any suggestions for […]
[…]definition of form in an article called “Strategic Formalism: Towards a New Method in Cultural Studies,” Victorian Studies 48 (summer 2006): 625-57.This distinction will bring us back, by a circuitous route, to the problem of social inequality – which is what really concerns Mittell and which should most likely concern us, too. Mittell’s piece moves fluidly between formal and generic categories. When discussing The Wire‘s likeness to the novel, for example, he writes: Novels typically probe the interior lives of their characters, both through plots that center on character growth and transformations, and through the scope of narration that accesses […]
[…]to better results. Youngquist ends Cyberfiction with a discussion of art that makes the distant workings of war visible: a geo-cache project by Paula Levine that transposes the coordinates where bombs were dropped on Baghdad over the city of San Francisco. This project and its political force serves Youngquist as an exemplar that outdoes Gibson’s imagining locative art as “augmented reality” in Spook Country. By picking only that aspect of Spook Country to examine, however, Youngquist neglects the secondary plot which concerns an elaborate prank. An old man, formerly an intelligence professional, tracks a cargo container full of money that […]
[…]but they struggle on…” (43)). In a conversation I had with Tillman back in 1995 when she was working on No Lease on Life, she described her aims as follows: I’m less certain now about what can be undone, though I still believe in talking and writing, making things or unmaking them if possible….I’m questioning notions of outer and inner, public/private, how each of us – how I – exist in a framework in which we are affected, bombarded, by the world, and still manage to think, feel, have our own worlds. (Nicholls, 284) The skin, “the largest organ of […]
[…]The anxieties about the human body that the film dramatizes seem best understood within the critical parameters provided by Mark Seltzer, whom Auerbach cites: “Early cinema’s chase film at the turn of the last century thus represents one important example of what Mark Seltzer has called naturalist dramas of uncertain agency wherein ‘the principle of locomotion which in liberal market culture is the sign of agency is in machine culture the sign of automatism'” (807). Though Auerbach invokes Seltzer’s analysis to suggest that the genre of the chase film represents nothing so much as anxiety about agency, much of Auerbach’s […]
[…]of the environmental justice movement in the early twentieth century. Alaimo examines Le Sueur’s working-class politics through recurring images of humans joined with the earth as a critique of and resistance to capitalist exploitation. While she notes Le Sueur’s challenge to gender tropes in her vision of a masculine nature and feminine desire, Alaimo comments that Le Sueur’s “enthusiasm for a kind of maternal, proletarian vitality betrays exactly the sort of essentialism that mires the (reproductive) female body within the relentless fecundity of nature” (38). That said, Alaimo’s close reading of Le Sueur’s article, “Women Know a Lot of Things,” […]
[…]wedding invitation in the next interim text (Fig. 9): The wedding invitation is framed by DNA code which, through its distinctive detachment from the invitation itself, gestures back to the two paradoxical dialectics. That is, the disconnected DNA codes are visual representations of signifiers which may be floating, flickering, or both. Hayles argues that “mutation is crucial because it names the bifurcation point at which the interplay between pattern and randomness causes the system to evolve in a new direction. It reveals the productive potential of randomness that is also recognized within information theory when uncertainty is seen as both […]
[…]it. Instead I created my own industrial film that I am putting into dialog with aspects of Motion Studies Application and Folie à Deux in a three-channel work. Now I am working on a series of drawings that are formally inspired by workplace posters. Again, as in all my projects, I am interested in our mental relation with the technologies of the moving image. Here I am drawing on the work of the Frank and Lillian Gilbreth, the pioneering “industrial engineers,” who believed that the worker could use the tools of cinema to change his work methods and so become […]