Category: Text


Wired Magazine just published an article on social media, assembly, and dissidence. Way late to the game but a nice read none the less. We should be thinking about what comes next.

When poetry averts conformity it enters into the contemporary: speaking to the pressures and conflicts of the moment with the means just then at hand.

For all the diversity of the contemporary media ecology – network, broadcast, games, mobile – one technical form is entirely dominant. Screens are everywhere, at every scale, in every context. As well as the archetypal “big” and “small” screens of cinema and television we are now familiar with pocket- and book-sized screens, public screens as advertising or signage, urban screens at architectural scales. As satirical news site The Onion observes, we “spend the vast majority of each day staring at, interacting with, and deriving satisfaction from glowing rectangles.”

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Top 50 Internet Acronyms Parents Need to Know as decided by NetLingo, the internet dictionary.

Darren Wershler-Henry

Darren Wreshler (Henry) is the author or co-author of 12 books, most recently, Guy Maddin’s My Winnipeg, and Update, with Bill Kennedy. Darren is an Assistant Professor of English at Concordia University, where he works with the Technoculture, Art and Games (TAG) group, and is also part of the faculty at the CFC Media Lab TELUS Interactive Art & Entertainment Program.

His Blog alienated.net–the most visible part of Darren’s brain.

PDF’s of The Tapeworm Foundry, a single unpunctuated sentence of pro-Situ proposals that resembles a social virus more than a functioning data-organism, its litany of avant-garde projects linked only by the seemingly innocuous, but progressively more imperative-sounding, “andor.”

http://www.ubu.com/ubu/wershler_tapeworm.html

Internet poem Nicholodeon, a seemingly exhaustive survey of the possibilities of concrete and process-based poetry in the Nineties, organized like a paper database with icons to guide the wary reader toward conceptual handles.

http://archives.chbooks.com/online_books/nicholodeon/

Update Terms of Service: This book will publish unauthorized communications. It will collect content or information using an automated means, employing harvesting bots, robots, spiders and/or scrapers without permission. It will engage in multi-level marketing. It may contain viruses or other malicious code. It may bully, intimidate and harass. It will contain content that is hateful, threatening and pornographic. It may contain nudity or graphic and gratuitous violence. It will have no age-based restrictions. It will be unlawful and misleading, and could disable, overburden or impair the proper workings of literature. It will facilitate and encourage the violation of poetry. It will let the dead speak.

Deleuze and Guattari Resources

Reading Notes on Deleuze and Guattari  Capitalism & Schizophrenia

D&G Lectures and Outlines

Protocol: How Control Exists after Decentralization

by Alexander Galloway

“Is the Internet a vast arena of unrestricted communication and freely exchanged information or a regulated, highly structured virtual bureaucracy? In Protocol, Alexander Galloway argues that the founding principle of the Net is control, not freedom, and that the controlling power lies in the technical protocols that make network connections (and disconnections) possible. He does this by treating the computer as a textual medium that is based on a technological language, code. Code, he argues, can be subject to the same kind of cultural and literary analysis as any natural language; computer languages have their own syntax, grammar, communities, and cultures. Instead of relying on established theoretical approaches, Galloway finds a new way to write about digital media, drawing on his backgrounds in computer programming and critical theory. “Discipline-hopping is a necessity when it comes to complicated socio-technical topics like protocol,” he writes in the preface.

Galloway begins by examining the types of protocols that exist, including TCP/IP, DNS, and HTML. He then looks at examples of resistance and subversion—hackers, viruses, cyberfeminism, Internet art—which he views as emblematic of the larger transformations now taking place within digital culture. Written for a nontechnical audience, Protocol serves as a necessary counterpoint to the wildly utopian visions of the Net that were so widespread in earlier days.”

So far there is no Marxist theory of the media.

—Hans Magnus Enzensberger


“The proliferation of displacement and communications resources everywhere tears
us constantly from the here and now, with the temptation of being somewhere else
all the time. Grab a TGV29 train, take an RER30, pick up a phone, and you’ll already
be there. This mobility only implies a kind of constant being pulled away, isolation,
and exile. And it would be intolerable for people were not to always be a mobility of
private space, of a kind of portable “indoors.” The private bubble doesn’t burst; it
just floats. This isn’t the end of the cocooning, it’s just that it’s starting to get
moving. From a train station, an office park, a business bank, from one hotel to the
next, there’s always that foreignness, so commonplace, so well known that it feels
like the least familiar thing. The luxuriance of the metropolis is a random brew of
defined, infinitely permutable environments. Its downtowns offer themselves up not
as identical places but as original offerings of ambiances, among which we evolve,
choosing one and passing up another, like a kind of existential shopping among the
different styles of bars, people, designs, or iPod playlists. Advertising tagline: “With
my mp3 player I’m the master of my world.” To survive the surrounding uniformity,
the only option is to reconstitute your own inner world constantly, like children
building little Wendy houses (A back-yard children’s play-house, named after the house Peter Pan builds around Wendy Darling after she falls upon her arrival in Never-Never Land) just the same anywhere.”
The Coming Insurrection

Is Poetry Enough? Poetry in a Time of Crisis

Reading Time: For a Poetics of Hypermedia Writing

Discussing the question of closure in hypertext fiction, George Landow wrote in Hypertext 2.0 (1997) that “[u]nlike texts in manuscript or print, those in hypertext apparently can continue indefinitely, perhaps infinitely” (191). Since the publication of Hypertext 2.0, experimental hypermedia has brought to the fore a new variety of open-ended literary works that both challenge and extend the typically link/node and word-based hypertexts to which Landow refers, such as Michael Joyce’s seminal hypertext story, Afternoon. (For online examples of word-based hypertext, see Joyce’s Twelve Blue and Judy Malloy’s LOve One.) A general survey of activities over the last four years reveals prominent changes not only in the way literary materials are composed but also in the tools of their distribution. Networked personal computers, coupled with advanced Web design software, provide a relatively cheap and easy mode of production and distribution not widely available before. As distribution machines, networked computers clearly change the relationship between author and reading public, most obviously in terms of the speed and range of distribution. Furthermore, new programming interfaces offer a whole host of gadgets–including animation, streaming video, vector motion, cascading styles, layering, and interactive behaviors–that together comprise some of the latest compositional tools of today’s screen-based writing. When put to use on the digital page, these devices alter the time of literary performance in ways significantly different from print-based, or even first-generation hypertextual, writings. Duration (scene progression, sequencing, real-time motion) is now built into the metalanguage of literary composition as a device, along with more conventional devices like line, paragraph, prosody, character, and plot. Moreover, the primary locale for this new performance, the World Wide Web, provides a zone of perpetual currency, or fleeting stability, or both (depending upon one’s perspective), which challenges conventional notions of the “past” and “present” of literary activity, in terms of the creative process as well as the distribution of a finished literary product. Three questions thus arise that will be treated throughout this essay: First, what are some of the ways in which computer technologies are currently used to create and distribute a time-based, hypermedia writing (with time-based defined for this study as hypermedia works whose “play” on the screen, either in whole or in part, is encoded into the work and computer-driven)? Second, how can time-based literary works of this kind be read in relation to traditional reading practices? Third, given the ephemeral nature of Web-based hypermedia, how might literary criticism in general accommodate this evolving art form?

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Fifteen Theses on Contemporary Art

“Get minky in the momodrome with Lara Glenum’s second book, MAXIMUM GAGA. In scenic Catatonia, the Normopath snoozles, the Cherubim applaud, King Minus lies face-down, the Visual Mercenaries burst in, Icky and his school-boy minions race past, and the Queen Naked Mole Rat climbs inside the miraculating machine. Reworking the tabloid maximalism of Jacobean drama, this book investigates the politics of aesthetics and prosthetics, gender and power.”
Lara Glenum

Lara Glenum

Manifesto of the Anti-Real

1. Art is neither a form of consolation nor a butler to hegemonies. Even in its most discreet moments, art explodes.

2. The Anti-Real does not deny the Real.* The Anti-Real knows that everything is in annihilation in the Sublime. The Anti-Real is that which seeks to manifest itself through the secret side-door to the Sublime rather than through the mock world of realism.

3. Realism is the bordello of those who would have their perceptions affirmed rather than dilated. When the door of fascism is opened, Realism will be seen lounging like a whore in its inner sanctum.

4. The Apocalypse is a way of thinking. Only the Apocalyptic clock announces from atop the grotesque pile of refuse, ‘The Kingdom of Heaven is now.’

5. Irony is not a device. It is a state of being.

6. To be Anti-Real is not to be Surreal. The achievement of Surrealism lies in displacing correspondences, in the poem not arriving. In the Anti-Real, all assumptions are disabled, too, with one difference: the Anti-Real displaces causal logic with a totalizing logic of violence.

7. ‘Defile! Defile!’ shriek the Obliterati as they vandalize the museum of language.

8. Sentimentality is a form of exploitation, a connivance with official lies. Hang sentimentality on the gallows of Emergency.

*Even though the Real does not exist

MAXIMUM GAGA

The Jew’s Daughter is an interactive, non-linear, multi-valent narrative, a storyspace that is unstable but nonetheless remains organically intact, progressively weaving itself together by way of subtle transformations on a single virtual page.

The Jew's Daughter
by Judd Morrissey