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[…]Practice (1980) by Catherine Belsey – come to stand for everything that is bad under the critical sun. However, for readers with a host of daring authors such as Joyce and Pynchon under the belt, Guyer’s Quibbling (1991) or, for that matter, any other existing hypertext fiction fails to subvert anything but our material habits of literary consumption. The change of habits is unmistakable, but let’s not overestimate its implications. As far as I can tell, up to this day only the Internet presents a digital textual form which seriously manages to undermine the expectations of readers versed in the […]
[…]does resemble Austen in that he penetratingly probes the formative relationships in a specific group of people: upper-middle class New Yorkers involved in business, horse racing, and the art world. He also creates unexpected empathy for characters who are sado-masochists, alcoholics, liars, cheaters, vain, or just ambitious. But the novel is completely different in tone and form from Austen; it has a distinctly modern, acentered quality. It is episodic and recursive in structure, and makes its impact through implication and juxtaposition. The role that constraints play in shaping the plot might be inferred from this passage in Cigarettes: “Morris was […]
[…]and the wall of the prehistoric cave, all treated as earlier “screens,” as the site of codes that have both formal and emotional significance. I take it that Lascaux and similar caves were sites of cultural instruction about the most important forms of orientation for a nomadic people, whose path intersected with their main food supply but a few days in each year. The fact that their winter temperatures were lower than minus sixty degrees Fahrenheit also put a premium on springtime birth, both of humans and animals. These people needed a practical astronomy that tracked weather and timed their […]
[…]only by being retroactively posited as “original” and “natural” by the contingent and diacritical system of the Symbolic itself. As Zizek puts it, the phallus-as-signifier thus operates – against the clichéd notion of the phallus as “the siege of male ‘natural’ penetrative-aggressive potency-power” – as “a kind of ‘prosthetic,’ ‘artificial’ supplement; it designates the point at which the big Other [the Symbolic], a decentered agency, supplements the subject’s failure,” its “lack of co-ordination and unity.” ^14.Slavoj Zizek, The Plague of Fantasies (London: Verso, 1997), pp. 135-6. Further references are in the text. Zizek explores this theme in any number of […]
[…]Shatner was otherwise engaged.) The greater problem is that all of the ASCII (American Standard Code for Information Interchange) text is rendered in a jaggy, monospaced font – fine if you’re reading a paragraph but a killer if you’re trying to read the whole of von Helmholtz’s Ice and Glaciers. The fluidity of cut-and-paste, the immense time-saving of computer searches, the minute physical volume holding enough words to fill a library: great benefits of the computer age which provide little comfort to the person reading a screen while nursing a giant headache. If, in publishing on the computer, you aim […]
[…]reading Joyce’s Moral Tales and Meditations: Technological Parables and Refractions while working in Mt Isa for a few days, a mining town in western Queensland’s ruddy hued desert. Mt Isa’s technological scape is impressive with the scaffold and steel, smoke stacks and sulphur of the mine complex dominating the flat town’s gentle sprawl of suburbs. The technosphere of this place is at once industrial and informatic. It was hot as I lay in a motel room, watching cable television, endless video shows, and cartoons. Run by an Aboriginal media organisation, Imparja Television broadcasts throughout central Australia, a local voice in […]
[…]and law breaking. In an era of “electronically coordinated swarms” (209), movements of groups of people are coordinated on an ad hoc basis according to changing conditions; thus friends can rearrange group meetings and protestors can evade police barriers. Democracy can be a frightening thing for the authorities who have, in some instances, shut down networks to curtail citizens’ behavior. Sometimes the cornucopia of Mitchell’s examples makes it difficult to distinguish significant trends from fads. Me++ often has a rather techno-utopian tone. While the techno-utopianism can become a bit exhausting, it gives scope for Mitchell’s best rhetorical prose. At the […]
[…]three sections, which help to identify three dimensions of his work or rather three domains of critical intervention with it. In the first section “Aesthetics,” the essays engage with “formal” aspects, which in the case of Gombrowicz entails not merely the pre-existent concept of literary form but rather various critical approaches to Gombrowicz’s interrogation of form itself. Tomislav Longinović focuses on the strategies at play not in Gombrowicz’s literary works but in the series of interviews he did with Dominique De Roux towards the end of his life entitled A Kind of Testament. The intimate relations between Gombrowicz’s work and […]
Introduction by Joseph Tabbi Trace Reddell’s “Litmixer: The Literary Remediator” is what critical writing could look like once scholars and critics begin making use of the performative possibilities within networked environments. With his software groovebox, Reddell applies the tools and strategies of the DJ to the performance of literary interpretation and critical speculation. Jacques Derrida’s essay, “Plato’s Pharmakon,” becomes in Reddell’s hands not so much a master text as a set of recording masters, less a source of supporting citations than a sampling source to be played off against related discourses – on music, drugs, technology. And it’s all presented […]
[…]At the same time, I hope to give some indication of why we might do well to continue to turn our critical and creative attention to the ways in which the literary constitutes a valuable site through which to understand our works and days. Richard Powers is an accomplished novelist whose five (soon to be six) novels plumb the controversies, latent and teeming, inherent to our highly technological milieu. I daresay that, for most of my readers, Louis Zukofsky, though an equally accomplished poet, will be a somewhat less recognizable, and more inaccessible, figure. I hope to show why both […]