On Joseph McElroy’s Fiction as a lifelong, dramatic investigation of noesis - that abstract butevocative concept rooted in Platonic idealism and redefined(through Phenomenology) asthose ineluctable acts of consciousness that constitute reality.
This text covers: setting the stage; the problem of imagery; the problem of consciousness; mathematizing betrayal; literary creativity and Church's Thesis; inside the mind of BRUTUS.
In a slowly revolving and evolving animated double panorama that takes the form of a mobius strip, the work follows a female protagonist, a male counterpart, and other characters in a manner that suggests narrative but never becomes it; instead it's an expression of temperament or a consciousness—a searching, a longing, a loneliness.
Born out of a Sinfonia by Johann Sebastian Bach, hypnotically played by Glenn Gould, this poem brings the reader into the setting of a hospital or care home, in which an old person seems to be living his last hours in a state between waking and sleeping. WARNING: CAN MAKE PEOPLE CRY! Slaaplied has been published in Dutch, English, German and Czech.
Dit gedicht is als het ware geboren uit een Sinfonia van Johann Sebastian Bach, hypnotisch gespeeld door Glenn Gould. De lezer wordt verplaatst naar een ziekenhuis of een verzorgingshuis, waarin een oud iemand de laatste uren van zijn leven is aangekomen. Hij bevindt zich in een staat tussen waken en slapen. OPGEPAST: ZEER ONTROEREND! Slaaplied is verschenen in het Nederlands, Engels, Duits en Tsjechisch.
Karlien van den Beukel - translation
Shadows From Another Place is a series of hypothetical mappings, both web based and site specific, that use the Global Positioning System to imagine the impact of political or cultural changes that take place in one location, upon another.
(Source: Project site)
The first set of mappings showed the impact of US bombing in Baghdad on a map of San Franciso.
We live in a world, according to N. Katherine Hayles, where new languages are constantly emerging, proliferating, and fading into obsolescence. These are languages of our own making: the programming languages written in code for the intelligent machines we call computers. Hayles’s latest exploration provides an exciting new way of understanding the relations between code and language and considers how their interactions have affected creative, technological, and artistic practices.
My Mother Was a Computer explores how the impact of code on everyday life has become comparable to that of speech and writing: language and code have grown more entangled, the lines that once separated humans from machines, analog from digital, and old technologies from new ones have become blurred. My Mother Was a Computer gives us the tools necessary to make sense of these complex relationships. Hayles argues that we live in an age of intermediation that challenges our ideas about language, subjectivity, literary objects, and textuality. This process of intermediation takes place where digital media interact with cultural practices associated with older media, and here Hayles sharply portrays such interactions: how code differs from speech; how electronic text differs from print; the effects of digital media on the idea of the self; the effects of digitality on printed books; our conceptions of computers as living beings; the possibility that human consciousness itself might be computational; and the subjective cosmology wherein humans see the universe through the lens of their own digital age.
(Source: University of Chicago Press catalog copy)
CONTENTS
AcknowledgmentsPrologue: Computing KinPart I. Making: Language and Code1. Intermediation: Textuality and the Regime of Computation2. Speech, Writing, Code: Three Worldviews3. The Dream of Information: Escape and Constraint in the Bodies of Three FictionsPart II. Storing: Print and Etext4. Translating Media5. Performative Code and Figurative Language: Neal Stephenson’s Cryptonomicon6. Flickering Connectivities in Shelley Jackson’s Patchwork GirlPart III. Transmitting: Analog and Digital7. (Un)masking the Agent: Stanislaw Lem’s "The Mask"8. Simulating Narratives: What Virtual Creatures Can Teach Us9. Subjective Cosmology and the Regime of Computation: Intermediation in Greg Egan’s FictionEpilogue: Recursion and EmergenceNotesWorks CitedIndex
Author description: Lexia to Perplexia is a deconstructive/grammatological examination of the "delivery machine." The text of the work falls into the gaps between theory and fiction. The work makes wide use of DHTML and JavaScript. At times its interactive features override the source text, leading to a fragmentary reading experience. In essence, the text does what it says: in that, certain theoretical attributes are not displayed as text but are incorporated into the functionality of the work. Additionally, Lexia to Perplexia explores new terms for the processes and phenomena of attachment. Terms such as "metastrophe" and "intertimacy" work as sparks within the piece and are meant to inspire further thought and exploration. There is also a play between the rigorous and the frivolous in this "exe.termination of terms." The Lexia to Perplexia interface is designed as a diagrammatic metaphor, emphasizing the local (user) and remote (server) poles of network attachment while exploring the "intertimate" hidden spaces of the process.
(Source: Author's description from Electronic LIterature Collection, Volume 1)
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