digital futures of literature, theory, criticism, and the arts

orality

Michael Jarrett practices an Ulmer-inspired heuretics to write about rap.

Katie King on the challenges and rewards, in her own life and the lives of her students, that emerge when writing about personal encounters with technology.

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It’s no surprise, then, that Daniel Reiss claims in his ebr review of Roger Chartier’s Forms and Meanings that the greatest insight afforded by Ong’s scholarship is that altering the forms by which thought is expressed and disseminated alters the process of thought itself.

‐ Lori Emerson

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While Jarrett argues for rap as rhapsody, Rob Wittig presses for a future revival of hip-hop as the art of the troubadour.

‐ Lori Emerson

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Echoing Jarrett’s claim for hip-hop as montage, Marcus Boon’s “Sublime Frequencies’ Ethnopsychedelic Montages” drives home to us that hip hop emerged out of the B-Boys’ taste for African polyrhythms purloined from old vinyl reshaped and engineered on turntables and mixers.

‐ Lori Emerson

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