On April 17 we had a roundtable discussion on Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction” here at FAU. I learned a lot from this event and am leaning evermore towards this presentation format, especially as opposed to the single-authored paper recitation/reading that dominates the MLA.
Excited that so many students showed up for this event! Note to self: play more games.
The Digital Humanities and Social Justice Workshop & Lecture Series
is a year-long research initiative that speaks to a shared commitment to using digital technology responsibly and fostering a critical dialog within the College of Arts and Letters at Florida Atlantic University. Topics of discussion include the ethics of incarceration, immigration reform, gender politics and legislation, human rights, environmental action, and the historic complexities of discrimination. Unless otherwise noted, all events take place in the AMP Lab.
It was a pleasure to attend the Electronic Literature Organization‘s annual conference in Paris: Chercher le texte. In addition to planning and brainstorming about the Consortium on Electronic Literature (CELL) , I presented a section of my manuscript and received fantastic feedback that helped me revise it for publication, both for the book and as a stand-alone article for the electronic book review.
MLA 2013, Boston:
Digital Technology, Environmental Aesthetics, Eco-critical Discourse
The objective of this special session is to initiate a conversation about the specific ways that digital technology participates in environmental aesthetics and practice. In particular, we aim to discuss the importance of codework, digital archivization, and digitally-based pedagogical techniques to environmental poetics. Continue reading “MLA 2013”
Re-reading Pattern Recognition for my presentation at the ACLA in a couple of weeks. Although my presentation focuses upon the novel’s relation to film—in particular, Chris Marker’s La jetée—Pattern Recognition speaks to a vast and inter-related media ecology comprised of words, images, icons, fashion, adverts, watermarks, human labor, sigils, and typewriters (including, hilariously, “Stephen King’s Wang”). Published shortly after 9/11, and informed by the subsequent trauma of that event, the book remains a phenomenal read. Even though the rendering farm that makes the footage and therefore the F:F:F possible seems slightly antique ten years later, the theme of technological obsolescence and overlap is so expertly woven throughout the text that it doesn’t seem remotely out of date.
“a Wang…but not Mr. King’s”