P       RNCU   REPO   ODER       E            P O S T M O D E R N
P  TMOD RNCU  U EP S  ODER  ULTU E               C U L T U R E
P  TMODERNCU  UREPOS  ODER  ULTU E          an electronic journal
P  TMODERNCU  UREPOS  ODER       E           of interdisciplinary
Volume 7, Number 3 (May, 1997)                    ISSN: 1053-1920
Editors:				Lisa Brawley
					Stuart Moulthrop

Editors Emeritus:			Eyal Amiran
					John Unsworth

Review Editor:				Paula Geyh

Managing Editor:			Sarah Wells

List Manager:				Jessamy Town

Research Assistants:			Anne Sussman
					Steve Wagner

Editorial Board:			Sharon Bassett
					Michael Berube
					Nahum Chandler
					Marc Chenetier
					Greg Dawes
					J. Yellowlees Douglas
					Jim English
					Graham Hammill
					Phillip Brian Harper
					David Herman
					bell hooks
					E. Ann Kaplan
					Barbara Kirshenblatt-Gimblett
					Arthur Kroker
					Neil Larsen
					Tan Lin
					Saree Makdisi		
					Jerome McGann
					Uppinder Mehan
					Jim Morrison
					Larysa Mykyta
					Phil Novak
					Chimalum Nwankwo
					Patrick O'Donnell
					Elaine Orr
					Marjorie Perloff
					Fred Pfeil
					Peggy Phelan
					David Porush
					Mark Poster
					Carl Raschke
					Avital Ronell
					Susan Schultz
					William Spanos
					Tony Stewart
					Allucquere Roseanne Stone
					Gary Lee Stonum
					Chris Straayer
					Rei Terada
					Paul Trembath
					Greg Ulmer



     TITLE                                               FILENAME

Editor's Introduction					ed-intro.597


     Michael Joyce, "Twelve Blue"			[WWW Version only]

     Diana Reed Slattery, "Alphaweb"			[WWW Version only]

     John Cayley, "Book Unbound"			[WWW Version only]
     Andrew Herman & Co., "The Heimlich Home 		[WWW Version only]
     Page of Cyberspace"


     Matthew G. Kirschenbaum, "'Through Light 		kirschenbaum.597
     and the Alphabet:' An Interview with 
     Johanna Drucker"

     Loss Pequeno Glazier, "Jumping to 			[WWW Version only]


     Craig Saper, "Intimate Bureaucracies &		saper.597
     Infrastructuralism: A Networked 
     Introduction to Assemblings"


     Francois Debrix, "Impassable Passages: 		review-1.597
     Derrida, Aporia, and the Question of 
     Politics."  Review of Richard Beardsworth, 
     Derrida & the Political. New York:
     Routledge, 1996.

     Paul Trembath, "Reactivating Deleuze: 		review-2.597
     Critical Affects After Cultural Materialism." 
     Review of Paul Patton, ed., Deleuze: A 
     Critical Reader. Oxford: Blackwell
     Publishers, 1996.

     Arkady Plotnitsky, "Penrose's Triangles:		review-3.597 
     The Large, The Small, and The Human Mind."
     Review of Richard Penrose's The Large, The 
     Small, and The Human Mind. Cambridge:
     Cambridge UP, 1997.

     Michael Witmore, "Enter Virtuosi: Erudition 	review-4.597
     Makes Its Return." Review of The New 
     Erudition Ed. Randolph Starn. Spec. issue 
     of Representations 56 (1996): 1-143.

     Robert Elliot Fox, "Kerouac: Kicks Joy 		review-5.597
     Darkness." Review of Kerouac: Kicks Joy 
     Darkness. Ryko RCD, 1997.

     Bill Freind, "Play the Blues, Punk." Review	review-6.597 
     of R.L. Burnside, A Ass Pocket Full of 
     Whiskey, Matador, 1996; and Jon Spenser Blues 
     Explosion, Now I Got Worry, Matador/Capitol, 

     Terry Harpold, "Dry Leatherette: Cronenberg's 	review-7.597
     Crash." Review of David Cronenberg, Crash. Fine 
     Line Features, 1996.

RELATED READINGS:					[WWW Version only]


     Selected Letters from Readers                	letters.597


     Announcements and Advertisements       		[WWW Version only]


Michael Joyce, "Twelve Blue"

     Abstract: A drowning, a murder, a friendship,
     three or four love affairs, a boy and a girl,
     two girls and their mothers, two mothers and
     their lovers, a daughter and her father, a
     father and his lover, seven women, three men,
     twelve months, twelve threads, eight hours,
     eight waves, one river, a quilt, a song, twelve
     interwoven stories, a thousand memories, Twelve
     Blue explores the way our lives--like the web
     itself or a year, a day, a memory, or a
     river--form patterns of interlocking, multiple,
     and recurrent surfaces.--mj

Diana Reed Slattery, "Alphaweb"

     Abstract: Alphaweb is a hypertext consisting of
     poetry and ruminations, graphics, and fragments
     of the Coriolis Codex, suggesting (but hardly
     conclusively) a special relationship between
     angels and dragons. The work has at least three
     interpenetrating structures, approximately 250
     areas and three times that many doors and
     passageways. The structure that is always
     present for orientation is the alphabetical
     structure; both the poems and the angels
     progress from A to Z, a comfort for those who
     like to proceed in an orderly fashion from A to
     Z, or at least to B. The stability of this
     structure is seriously compromised by built-in
     folds in the alphabet; because you can link to
     any letter from any area, the structure can be
     used to demolish itself at the behest of the
     traveler. A prolonged wander will reveal
     interior structures, jointly created by author
     and traveler, which are the work itself. The
     author suggests a dark room for optimum viewing
     of the graphics. --drs

John Cayley, "Book Unbound"

     Abstract: "Book Unbound" is a "collocational
     cybertext," a self-assembling poetic collage
     that can be read in two ways: either
     automatically in the "bound" mode, or in an
     "unbound" mode that allows readers to extract
     and recycle words from its recombinant text
     stream. The present version is a HyperCard
     stack (Apple only, HyperCard program not
     required) available for downloading. --Editor

The Tribe of the Chalk (Andrew Herman & Co.), "The
Heimlich Home Page of Cyberspace"

     Abstract: This collaborative document is a
     hypertextual reflection upon the politics of of
     sovereignty, self-hood, and community as they
     are embodied in three distinctive moments and
     formations of the social imaginary in Western
     capitalism: the emergence of linear perspective
     and the specular visual ordering of the social
     senses in Renaissance mercantile capitalism;
     the formation of imperial identity that was
     manifested in the rhetorical and cartographic
     construction and physical conquest of the "New
     World"; and the simulacra of virtual selves and
     communities of cyberspace. It explores the
     performative emplotment and emplacement of
     virtual "home pages" of identity in MOOspaces
     and the World Wide Web, and argues that a
     critical understanding of the "new frontier" of
     cyberspace must take into account the ways in
     which it uncannily restages the imperial drama
     of sovereignty which animated the conquest of
     the old frontier of America as "New World."--ah

Matthew G. Kirschenbaum, "'Through Light and the
Alphabet:' An Interview with Johanna Drucker"
     Abstract: Johanna Drucker's cumulative work as
     a writer, printer, book artist, and scholar of
     visible language in all its forms has
     accumulated in a critical and creative corpus
     which is, as one observer has put it, nothing
     less than "a conceptual framework for the
     relationship between the visual arts and the
     written arts." Nowhere is such a conceptual
     framework currently more needed than in the
     post-alphabetic writing spaces of electronic
     media--an area to which Drucker has, in fact,
     lately turned her attention.

     In this interview (conducted entirely via
     electronic mail) I have attempted to frame my
     questions so as to provide as complete an
     overview as possible of Drucker's career, with
     particular emphasis on her recent interest in
     matters of the virtual. The text of the
     interview is accompanied by forty digital
     images of Drucker's artistic work, as well as
     her brief catalogue essay entitled "The Corona
     Palimpsest: Present Tensions of the Book."--mgk

Loss Pequeno Glazier, "Jumping to Occlusions"

     Abstract: "Jumping to Occlusions" is perhaps
     the first thorough statement of a poetics of
     online space. In the present hypertextual
     trickster edition, a lively investigative
     language of the link is employed helping to
     develop this essay's written argument through
     its own hypertextuality--its jumps, sidebars,
     graphics, embedded sound files, misleadings,
     and other features. This essay explores
     electronic technology's opportunities for the
     production, archiving, distribution, and
     promotion of poetic texts but most importantly,
     argues that electronic space is a space of
     writing. For previous excursions into this a
     written terrain of links and jumps one need
     only look to the language experiments of
     certain poets writing in this century. Such
     poets include Gertrude Stein, Charles Olson,
     Robert Creeley, and Language-related
     experimentalists such as Charles Bernstein, Ron
     Silliman, and Susan Howe. Electronic writing,
     like previous instances of writing, engages the
     double "mission" of writing evident in some of
     this experimental poetry: to varying degrees,
     writing is about a subject, but also about the
     medium through which it is transmitted. If
     relevant previous poetic experiments involved
     the exploration of language as physical, what
     are the physical parameters of webbed online
     space? Texts move not only within themselves
     but into socially-charged externalities, "a
     webbed interference of junk mail, 'frets' of
     information, systemic failures, ephemera,
     disunion. There is no resting place--only the
     incessantly reconstituted links dissolving each
     time the reading is entered." The physical
     features most up for grabs? These include
     online hypertext itself, a mass of fits and
     starts. Links are at the center of an
     electronic hypertextual writing and links
     introduce disjunction. This post-typographic
     and non-linear disunion is no news to poetics.
     It is through a poetics of experimental
     poetries that a framework is sketched and
     progress is made towards the building of an
     electronic poetics, one where experiments that
     changed poetic language may inform the
     electronic air we breathe.--lpg

Craig Saper, "Intimate Bureaucracies & 
Infrastructuralism: A Networked Introduction to Assemblings"

     Abstract: Since the 1960s, artists' assemblings
     and mail-art networks functioned to avoid the
     gallery system and to reach an audience for
     works difficult to exhibit. Now they offer a
     model for understanding electronic web-sites.
     The connections between assemblings and
     electronic publication are often literal as
     many of those involved in mail-art and
     alternative periodicals have begun to publish
     e-zines and web-sites. There is little
     secondary literature on these assemblings, and
     this essay seeks to introduce these works as
     well as explain how assemblings change the way
     one reads texts. These types of texts encourage
     reading the links among many works and many
     networking artists and poets; reading these
     webs of connections demands an alternative to
     formalist and structuralist analyses of
     electronic media: infra-structuralism. The
     alternative examines the socio-poetics of texts
     that appear as part of networks of other texts
     and among many producers. The specific
     socio-poetics of these works includes an
     attempt at democratizing production and
     distribution. The other aspects of the
     socio-poetics include various elements usually
     read only as impasses to understanding. These
     markers of a new type of reading include:
     circumstantiality, on-sendings, the fan's
     logic, network coverage, unreadability, and
     craft as conceptual art. In examining these
     factors, this essay also presents important
     historical evidence and theoretical
     interpretations on the work of Ray Johnson and
     others involved in mail-art networks and
     assemblings. What began as a marginal art
     movement may now offer a model for reading and
     writing networked-art. --cs


Copyright (c) 1997 Postmodern Culture & Johns Hopkins University

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