“In his journal, Paul liked to make lists: What he ordered from Commissary (shaving cream, toothpaste, deodorant, the transistor radio he had for a week before the guards took it away). The books he picked off the cart (The Bible, Dean Koontz, Stephen King, Codependent No More.) What phone calls he made and received; also, Bible Study certificates, letters and cards, his workout routines and his moods (Anxious, Nervous, Trusting in God, but mostly Depressed).
“I had to rediscover who I was. And that’s why I left the apartment.... And there I was, right in the heart of the Arab world, a world that never tired of making the same mistakes over and over.... I had no more leniency when it came to the Arab world... None for the Arabs and none for myself. I suddenly saw things with merciless lucidity...” –An Arab Melancholia
In ThermoPoetics, Barri Gold sets out to show us how analogous, intertwined, and mutually productive poetry and physics may be. Charting the simultaneous emergence of the laws of thermodynamics in literature and in physics that began in the 1830s, Gold finds that not only can science influence literature, but literature can influence science, especially in the early stages of intellectual development. Nineteenth-century physics was often conducted in words. And, Gold claims, a poet could be a genius in thermodynamics and a novelist could be a damn good engineer.
In Mechanisms, Matthew Kirschenbaum examines new media and electronic writing against the textual and technological primitives that govern writing, inscription, and textual transmission in all media: erasure, variability, repeatability, and survivability. Mechanisms is the first book in its field to devote significant attention to storage--the hard drive in particular--arguing that understanding the affordances of storage devices is essential to understanding new media.
As a neurasthenic, kleptomaniac, man-chasing proto-punk poet and artist, the Baroness Elsa von Freytag-Loringhoven left in her wake a ripple that is becoming a rip--one hundred years after she exploded onto the New York art scene. As an agent provocateur within New York’s modernist revolution, “the first American Dada” not only dressed and behaved with purposeful outrageousness, but she set an example that went well beyond the eccentric divas of the twenty-first century, including her conceptual descendant, Lady Gaga.
When Alfred Jarry died in 1907 at the age of thirty-four, he was a legendary figure in Paris--but this had more to do with his bohemian lifestyle and scandalous behavior than his literary achievements. A century later, Jarry is firmly established as one of the leading figures of the artistic avant-garde. Italo Calvino, Umberto Eco, Gilles Deleuze, Jean Baudrillard, Philip K. Dick, Paul McCartney, DJ Spooky, Peter Greenaway, and J. G. Ballard are among his many admirers.
A video game is half-real: we play by real rules while imagining a fictional world. We win or lose the game in the real world, but we slay a dragon (for example) only in the world of the game. In this thought-provoking study, Jesper Juul examines the constantly evolving tension between rules and fiction in video games. Discussing games from Pong to The Legend of Zelda, from chess to Grand Theft Auto, he shows how video games are both a departure from and a development of traditional non-electronic games.
Ours is a century of fear. Governments and mass media bombard us with words and images: desert radicals, "rogue states," jihadists, WMDs, existential enemies of freedom. We labor beneath myths that neither address nor describe the present situation, monstrous deceptions produced by a sound bite society. There is no reckoning of actuality, no understanding of the individual lives that inaugurated this echo chamber.
In 1995, Robert Barsky met with Noam Chomsky to discuss hiswork-in-progress, Noam Chomsky: A Life ofDissent (MIT Press, 1997). Chomsky told Barsky that he shouldfocus his attention instead on midcentury linguist and activist Zellig Harris,who was, Chomsky modestly insisted, more interesting than Chomsky himself.Intrigued, Barsky began to research Harris (1909–1992) and discovered thestory of a major figure in American intellectual life "sitting in acorner in the middle of the room"—partof crucial twentieth-century conversations about language, technology, labor,politics, and Zionism.