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[…]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 […]
[…]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 […]