[…]Author-God. Rather than pseudo-philosophical pontificating, Illegal Literature presents practical, critical, and thoughtful studies of the moments when law and economy come in to support the power of authorship. Noting that derivative use most frequently ends up encouraging the popularity—and often the sale—of the work being parodied, Roh plainly points out that these legal battles, more often than not, are born out of a desire for creative control or out of moral indignation. “The only conceivable reason an author or copyright holder might have for pursuing litigation,” he writes, “would be moral outrage; they might feel that their right to control […]
[…]group—results from a precise combination of several factors: the number of declarations of group value and group identity that circulate internally and by which members address one another; the number of declarations of group value and group identity that circulate publicly and by which members recognize their membership or are invited to affiliate; the magnitude or intensity of this public declaration: the “mark” or memory it leaves on members or on public consciousness; hence the duration of group identity in time—the longer any entity endures as a group, the more corporate it may be said to be. It would in […]
[…]and the growing gap between the rich and poor that has drastically affected an erstwhile white working class (and disproportionately affected other groups too, to be sure) that, in the loss of some of its once unassailable privilege, perceives (rightly, if shortsightedly) that it has been largely shunted aside by the New Economy and thus has lashed out in anger and disillusionment by helping to put Trump into office. Seen in this light, the new film’s ghosts are symbolic of the real danger that the Left-neoliberal fantasy wishes away when we recall the scene in the basement laboratory in which […]
[…]“The New Cultural Geology,” Huehls proposes that an “exomodernist” strain of “post-critical’ and “posthumanist” contemporary literature has attempted to move beyond the “representational impasses” that impeded both postmodernism and post-postmodernism by accepting our neoliberal hybrid subject-object ontology. By doing so “exomodernism” ostensibly risks complicity with neoliberalism’s treatment of individuals as the “free ontology homo œconomicus, the simultaneous subject-objects of laissez-faire.” As neoliberalism is yet to codify all modes of being, however, Huehls postulates that authors can harness literature’s stylistic and formal attributes to produce new meanings and values. In chapter 1, Huehls analyses Uzodinma Iweala’s Beast of No Nation (2005) […]
[…]and only 24 exceed 1 billion dollars per year in sales revenue. The most exclusive and powerful group of publishers in the world are the five companies who last year had sales revenue of 4 billion dollars or more. Sales revenue on the other side of the financial spectrum though is more representative of contemporary publishing in the United States. It has been estimated that in the US alone, there are about 59,000 publishers with annual sales revenues of less than one million dollars, and about 47,000 publishers with publishing revenues of less than $50,000. It is at this point […]
[…]finding yourself by losing yourself in the white-hot chemical decomposition of cell.f in all its coded glory. Can you relate? AM: No. Though I probably could. 🙂 I’ve never thought of it as primarily networked but about getting rid of this distinction between words and pictures. For me, writing hypertextually is always a postcinematic writing, and while pictures work differently than words, their different networks (to steal your terminology) or the differences in their networks are erased. But it’s one thing to talk about that kind of writing and quite another thing to actually do it. The vogs are an […]
[…]of literature to consider new, post-critical ways to challenge neoliberal ontology.” Those post-critical ways, more likely than not, are given to us by the corporate structures and ontologies of the present—and not a few that have persisted from the past. America, love it or leave it? Where today would one go? Henry Turner’s advice, to “Love Your Corporation,” is again anything but satirical. In his analysis, Turner never rests with critique; he seeks rather to isolate earlier corporate entities —in churches and in kingdoms, for example, in towns, and in guilds whose purpose was to sustain specific, closely guarded trade […]
[…]elaborate on the intertwining of four dimensions in the translating process: translinguistic, transcoded, transmedial, and transcreational. Although I agree with the necessity of bringing together language, code and medium (after all, this is a continuation of the all-inclusive approach sketched above), I don’t know whether the transcreational dimension has the same status as the three other aspects. My reservations here are twofold. On the one hand, transcreation has become a kind of buzz word, which may lack the sharp focus that is needed to make sense of translinguistic, transcoding or transmedial operations. On the other hand, the term may be […]
[…]Millennium. London: Vintage, 1988. Print. Cayley, John. “Untranslatability and Readability.” Critical Multilingualism Studies 3.1 (2015): 70-89. Web. Accessed April 2018. Coetzee, John Maxwell. Diary of a Bad Year. London: Vintage, 2007. Print. Coetzee, John Maxwell. Elizabeth Costello. London: Harvill Secker, 2003. Print. Coetzee, John Maxwell. Summertime. London: Harvill Secker, 2009. Print. Coetzee, John Maxwell. Giving Offense. Essays on Censorship. Chicago: Univ. of Chicago Press, 1996. Danielewski, Mark Z. Only Revolutions. New York: Pantheon Books, 2006. Print. Encyclopædia Iranica. “Censoring an Iranian Love Story,”Last modified February 18, 2011. Web. Accessed April 2018. Esty, Jed. “Realism Wars.”Novel 49.2 (2016): 316-342. Web. Accessed April 2018. Foucault, […]
[…]and alienated by their noise. But do we understand their speech? They garble their way through unicode letter by letter.See Note 7. Code: https://github.com/jhave/Big-Data-Poetry [Comment: This section reflects on the material (technical, economic, political, cultural) situations of digital writing, positing it in a set of social conditions. More than a medium, and more than an organ, language is here understood as an externalized technology, or a prosthesis.] [Note 7: In his project Big Data Poetry (2014-2017), David Jhave Johnston uses machine learning techniques to generate strings of language. BDP uses a combination of techniques of visualization, analysis, classification and substitution […]