Archive for digital humanities

Summer 14 course materials: Introduction to Literary Theory

Posted in Teaching, The Profession with tags , , , , , , , on 25 May 2014 by Ben

This summer, during the June  ‘A’ Term, I will be teaching (for the second time ever), ENGL 2112: Introduction to Literary Theory. You can find the description of my previous stab at it here along with some course documents. This time things will be a bit different, as I am eschewing the “know a few things well” approach that I tried to employ last time even if I am trying not to teach according either to the “canonical theory” or “theory cafeteria” models which seem to prevail in many such courses.

Download the schedule (ENGL_2112_Schedule_2), the syllabus(ENGL_2112_Syllabus), and the daily worksheet assignment (Daily_worksheet_assignment) if you like. Looking them over as you read will be helpful.

So, in what follows I want to explain and perhaps rationalize the schedule and shape of the course. Note that in the last version of the course we read books of theory, D+G’s Kafka book, for example. Here we are using the second edition of The Norton Anthology of Thoery and Criticism as our only text for two reasons. First, cost/efficiency. It’s a spendy book, yes, but it has resale value to students and could be less than five or six university press titles we won’t even be able to finish. Plus, everyone knows where the readings are and what to bring to class every day. The second reason is that by limiting myself to the Norton, just as with limiting myself to post-1980 theory, I am adding a helpful constraint. I don’t have to think about everything. I don’t think of this as being derelict in my duty as I would have to leave things out no matter what, whether I am drawing from ALL of theory or just from the selections in the anthology. I guess I could add another reason, namely that dealing with an anthology offers us a chance to think about the politics of anthologies, a major point of contention in the culture wars of the 1980s. In any case, I know there are drawbacks to the “antho-logical” approach (not the least of which is the appearance of “cafeteria”style theory), but the benefits outweigh the drawbacks in this experiment in course design. (I think. I hope.)

More below the fold.

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Old syllabus: Posthuman Media

Posted in Teaching with tags , , , , , , , , , , , , , , , , , , , on 1 February 2014 by Ben

Following a discussion with Marc Weidenbaum via Twitter, here is the syllabus for an old course: Posthuman Media.


Spring 2014 course materials: Music and Digital Media

Posted in Teaching with tags , , , , , , , , , , on 5 January 2014 by Ben

Some people on Twitter asked me to post this stuff, so here it is.

Although I think the class will work well, I don’t pretend that it’s comprehensive. Rather, it is rather idiosyncratic. Since it’s a theory class according to the English Department (ENGL 3116: Topics in Advanced Theory), the Wark seems necessary to me. It makes sense anyway, but does provide a broad theoretical background to some of the issues we will discuss, one that is largely absent otherwise.

I realized while constructing this syllabus 1) how much things have changed since I last taught this course in 2011, not only with regard to music itself, but also with regard to the industry (do they still sue downloaders? is this still a thing?) and media studies generally; and 2) with regard to these changes mentioned in 1,  that I am rather behind on the scholarship in the field. More accurately, I would say that I am more aware than ever of what it means to be an expert on something, and find now what I once considered to be my expertise in this field, while still adequate in some respects, somewhat less than I would like. Oh well, when I finish Here at the end of all things I can rectify that issue as I prepare for The Age of the World Playlist.

So here is the syllabus (with course policies) and the schedule. Note that the schedule is mostly organized as follows: Mondays are for theory, Wednesdays are for texts on music and/or media, and Fridays are given to listening. Mostly. There are probably more exceptions than I would like to know about.



Cover to the Johns Hopkins Gudie to Digital Media

Posted in Writing with tags , , , , , , , , on 9 October 2013 by Ben

Here is the cover for The Johns Hopkins Guide to Digital Media, edited by Marie-Laure Ryan, Lori Emerson, and yours truly. It features great entries from Johanna Drucker, David Golumbia, Jussi Parrika, Matthew Fuller, Ian Bogost and Nick Monfort, Bethany Nowviskie, Jay David Bolter, Scott Rettberg, Darren Wershler, Matt Gold, Maria Engberg, John Cayley, Biella Coleman, Eduardo Kac, and Jessica Pressman–among numerous others (I am doing this off the top of my head–I don’t mean to slight anyone!).

Looking forward to the real thing, coming sometime next year.

JH Guide to Digital Media Cover

My Paper Proposal for Frontiers of New Media 2013

Posted in Conferences, Writing with tags , , , , , , on 2 April 2013 by Ben

Here is my proposal for the 2013 Frontiers of New Media Conference, on the theme: The Beginning and End(s) of the Internet: Surveillance, Censorship, and the Future of Cyber-Utopia.

Publicity, Privacy, Anonymity: Futures of New Media

Proposal for The Beginning and End(s) of the Internet: Surveillance, Censorship, and the Future of Cyber-Utopia

Benjamin J. Robertson, English, University of Colorado, Boulder

In 1890, Samuel Warren and Louis Brandeis, addressing in part concerns over photography, considered the question of a right to privacy in the United States. They begin, “That the individual shall have full protection in person and in property is a principle as old as the common law; but it has been found necessary from time to time to define anew the exact nature and extent of such protection. Political, social, and economic changes entail the recognition of new rights, and the common law, in its eternal youth, grows to meet the new demands of society.”

A century later, in the 1990s, the increasingly public availability and use of the the Internet and the World Wide Web should perhaps have engendered a new consideration about the exact nature of and right to privacy. Of course, discussions of privacy in the digital age happen nearly everyday. Civil libertarians continue debate authoritarians, law enforcement, and commercial interests about the necessity and value of privacy in the wake of warrantless wiretapping, the expectation of privacy in the cloud, and now Google Glass. When, in 2010, Facebook’s Mark Zuckerberg claimed that privacy is no longer that big a deal, claiming “That social norm is just something that has evolved over time,” it seemed that the largest, newest, and most powerful capitalist interests in the world would, in the future, determine the extent to which private citizens would retain their privacy. When, in late 2012, a Gawker writer (though an analysis of public information), revealed private citizen Michael Brutsch as notorious Reddit editor Violentacrenz, whatever our feelings about Brutsch and his online persona, we were forced to wonder whether, on the Internet, we ever enjoyed any privacy and whether we could ever hope to in the future.

However, our concerns and the contemporary debate about privacy in the age of networks remain, strikingly, mired in the same assumptions behind Warren and Brandeis’ arguments in the late nineteenth century. More precisely, these concerns and this debate have failed to engage with the “political, social, and economic changes”—not to mention the technological changes—of the past several decades. We must wonder if drawing upon a discourse of privacy that began in the early years of traditional photography can have anything to say about a world of Instagram and the WiFi and 4G networks that facilitate it.

This paper investigates the question of privacy, and by extension the nature of publicity (in the sense of one’s being-public) in the context of new media and network technology. It considers whether privacy—as imagined by Warren and Brandeis, dependent on Enlightenment notions of the human and traditional notions of the commons—can survive, should survive, in the contemporary world. If we are to be posthuman or create the posthumanities as a field of study, and if this posthumanism is to be something other than the mere extrapolation of the present (what Bernard Stiegler would call the calculation of the future), perhaps we must rid ourselves of those concepts that depend on and underpin the human itself. However, the end of privacy and, along with it, publicity, need not involve simply turning our data over to capitalists. If the private/public binary involves the movement of an individual from one space to another, from the home to the commons for example, anonymity involves a permanent sort of publicity, one no longer attached, however, to the private identity of the liberal human subject.

Excerpt from my review of Stiegler’s Uncontrollable Societies of Disaffected Individuals

Posted in Writing with tags , , , , , , , , , , , on 30 March 2013 by Ben

A paragraph from my forthcoming review of the second volume in Stiegler’s Disbelief and Discredit, recently translated for Polity by Daniel Ross.

For Stiegler, there are three forms or conditions of “being”: subsistence, existence, and consistence. That which subsists (and therefore does not exist), such as animal life, merely is and leads a life without reason. That which consists (and therefore does not exist), leads a “life” in which being and reason are one, even if the relation between the two remains incalculable (and therefore beyond the scope of political economy). That which exists seeks to avoid mere being by pursuing the incalculable consistency of its being and its reason, at which it will never arrive. Such human being becomes, or individuates in a term Stiegler borrows from Gilbert Simondon, towards a consistence that only manifests on another plane (and Stiegler here draws from Deleuze and Guattari who write of planes of consistency on which assemblages manifest by finding a proper level of abstraction). In order for the existent to pursue its consistence—and avoid the disindividuation, desublimation, and/or disaffection that lead to subsistence—it must have a reason, something in which to believe: a symbol, something that possesses consistence, something whose meaning is at one with its being. In this manner, as well as in a more conventional sense, Stiegler claims that such symbols do not exist.

The Illegible and the Interface

Posted in papers, Writing with tags , , , , , , , , , , , on 24 February 2013 by Ben

Another conference paper (given two or three times) from the vaults that never went anywhere more productive. I don’t know what happens at the end. So many of these papers just sort of trail off. The session must have been starting and I had to “finish” writing.


Derrida, in Dissemination: “a readability without a signified (which will be decreed to be an unreadability by the reflexes of fright)” (253)

Bremer - Untitled

Claus Bremer – Untitled

In an early critical evaluation of concrete poetry, RP Draper writes:

In European printed language it is an automatic assumption that letters forming words are separated by space from other letters forming words, that these letters march across the page from left to right, and that the lines so formed are strictly parallel and progress downwards at equal intervals. Concrete poetry plays upon these expectations, but itself takes nothing for granted.

Among his many examples of this “taking nothing for granted, Draper notes that the spacing between words may be erased, as in Ilse and Pierre Garnier’s “cinema”, shown here

Garniers - cinema

Ilse and Pierre Garnier – “cinema”

[Sorry for the quality of the scan]

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