Edited by Darren Tofts & Lisa Gye Lisa & Tofts Darren by Edited the Gregory L. UlmerSense Remixof Illogic Contents  42 61 12 3 page Gye 2 page

Lisa 78 page 28 Walker page 77 page

68 Jarrett page 48 Wilken page O’Gorman page & Tofts Marie page Saper

Lucy page 22 McKenzie page 67 Hoskin page Appendix Bio Notes Soliciting Taste: How sweet the lips of salted bream Soliciting Taste: Teri On Hip-Hop, a Rhapsody Michael Rowan Finitude Mystorian to Curmudgeon: Skulking Toward From Marcel The Two Ulmers in e-Media Studies: Vehicle and Driver and Studies: Vehicle Ulmers in e-Media The Two Craig Diagrammatology StudioLab UMBRELLA Jon Ashes (Reporting to U) Surface to Surface, Ashes to Linda The King and I: Elvis and the Post-Mortem orThe King and I: Elvis and the to Hypertext) Several Media (On the Way A Discontinuous Narrative in Niall Preface: Gluetube Preface: Introduction Darren the Gregory L. Ulmer Remix L. the Gregory & Lisa Gye Tofts Edited by Darren Illogic of Sense: of Sense: Illogic Preface: Gluetube 

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“I (1994): Rich- Mass.: the Tofts, in (New , Art & Text of in Andrew, Text convergence 1989). Stone,” 1994). Theory,’” (Cambridge, Postmodern, Southern Review, the Haig, Prefiguring Cyber Prefiguring Furniture” to the A., Demotic Press, Rosetta Ray & Routledge, Virtual ‘How-To image “The on the Teaching this photocopier,” Teletheory. Grammatology in the Teletheory. Cavallaro, Cracking Codes: The Rosetta Cracking Codes: The University Tables: of Kinnane, on Hobby: (trans) 2002),110-129. (London: and R., and a Decree A. Issue Gregory. 1999). Press, Machine Translation of Languages Machine Translation Darren, “Reality (Baltimore: The Logic of Invention (Baltimore: Heuretics: Hopkins 1990). Parkinson, discovery

student York: Wiley, 1955), 15-23. Wiley, York: M.I.T. in Locke and Booth, “Translation” Warren. Weaver, (eds.) culture: An Intellectual History culture: ____. Jonson, Special 252-260. Ulmer, age of video ____.“Theory (37, ____. John a (London: British Museum (London: British Museum Stone and Decipherment Press, Tofts, ard the Memphis References Simpson, The King and I: Elvis and the Post-Mortem or A Discontinuous Narrative in Several Media  (On the Way to Hypertext)

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Vegas”. at is. dressed paranoid. me of the analyst. been like more the angry sightings — an or “Las walked was Elvis when I

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it my of I’m asked some Elvis own see be did. stranger can’t ‘Great however Then a Winfield, handed The stranger lit his cigarette, back Elvis? I thought, about know I’m case I I For sightings, that stranger, guishably writer, It finished my second mac when someone, I hadn’t a to my and front a imagine not having bought a Bic, but I couldn’t cigarette to who I

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museum-style: Elvis goes. .V. room with 3 wall-mounted television with 3 wall-mounted room .V. sent it of are exactly Why so Well I’ve seen it. The King’s final resting placeresting final King’s I’ve seen it. The Well - years. In fact Ja of twenty odd and his home - 6 hours at Grace & I spent a good son, Mark museums and giftshops.land & the various Hawaiian furnish filled with - The “jungle room” E chose and purchased ings which the big - he re the very same room in 30 minutes and particularly tasteful. ‘Moody Blue’ was corded The T sets, so as ‘Tiger’ (as his closest friends calledsets, so as ‘Tiger’ games simulta- football three him) could watch striking color combination neously had a rather of yellow and blue and a delightful mirrored the gorgeous ceiling. And who could forget table?! white ceramic monkey on the coffee his living the pool room, The music room, The Lisa Marie (the very same plane he room, peanuttook some buddies to Denver in to eat collec- butter sandwiches) and his automobile daytion ... yep we saw it all. Then the following to to Tupelo we visited Sun studios and drove birthplace. O.K. I think Graceland is see E.P.s enjoyable, especially a zoo but Sun was really hearing snippets of conversation between Elvis, Carl the ‘Million Dollar Quartet’ [that’s there’s Perkins, Jerry Lee Lewis, and (although Then tosome debate about it) Johnny Cash]! heard hear The King imitate a black man he be cruel’... singing ‘Don’t Ghostly also return though

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as which call can in plot?) war, one post-mor might (that sense The nuclear place: the some event in For [...] graves. taken that it of our myth? not to about invention: any ‘has all as us pure write aftermath and The send remarks, then, a talk will

out. it is said that a myth, an image, a fiction, a uto- a phantasm, are a fantasy, pia, a rhetorical figure, fable, - can be recog that today anybody Not modernity. I but simply, and this or that side, purely nized on every slightly shown that today it could be am sure or claims to be founddiscourse is found organized even on both sides, alternately or simultaneously, exhausts nothing, does notif this emplacement the turn or the contour of the place andgo round And this inadequation,the sustained discourse. no doubt indicates the thick- always limited itself, [3] She, too, has attracted a grimest of difficulties.’ to shout equally determined of protesters, crowd against her would-be on, reads her down. Still she in her apocalyptic words interlocutors, dispatching pathological. But the crowd a tone of voice that’s the full text of receiving me from noise prevents and what I hear is filled with gaps: her delivery, who speaks‘... as soon as we no longer know ... of all of every scene of writing ...... the structure therevelation of experience itself ... it is first the for which apocalypse ... of the divisible dispatch destination....’ Straining to is no ... assured there even so I feel I’m on the brink of an epiphany, hear, scene about to be; at last, revelation of some great of demystifica- the coming of the end, the moment play: outside writing, past tion. Beyond philosophy, who’s But not yet. The Elvis singer, laid bare! Truth suddenlybeen marked by her absence for awhile, the crowd starts into a new song. Just as suddenly, the El- believe I’m leaving’, goes quiet. ‘If you don’t can count the days I’m gone’ vis singer sings, ‘You cloud of smoke. — and disappears in a mushroom The very at last ... the end approaches. Suddenly, end. Not a moment of epiphany after all, but of es- I wake up feeling paranoid and, cursing chatology. mine, fall out of bed. my luck in a voice that isn’t Fall that only tem, perfectly. The final end awaited as if it were The final end awaited as if it were tem, perfectly. A fiction, then; as real? The realist real. the realest morphological Derrida

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1976). (Picador: Press: Adopted 1980). trans. Histories York, Speed Postmodern and Full New (ed) Missives’, Genre’, Air Recently University (1982). (Autumn, of 7, Now: Hot Lucy 23, (1984). Tone Dutton: Seven

Law vol. Not 2, P. Vol. Niall (Indiana The Crying of Lot 49 The Crying of Lot in (E. No. ‘The Virtual Geographies: Living With Virtual ‘Miracles: 14, Missiles, Mystery Train: Images of America in Mystery Train: Semeia, Apocalyptic Vol. Tony. Thomas. Apocalypse, an 1979). Greil. Jacques. Seven , Critical Inquiry McKenzie. Improbable’ ‘Of ‘No the Bibliography Derrida, Ronell, ____. Philosophy’, ____. Ahead, Diacritics, Pynchon, Wark, Global Media Events London, Thwaites, Literary Theory: An Anthology (Blackwell: Oxford, 2000). Marcus, Rock’n’Roll Music Bloomington, 1994) of

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Ulmer’s projects in by of shoot we in studied they cases courses so two.’ I’d me it as so (effectively, importantly, followed. full, ‘they’ll life. student theories cally” never placed my by etc. Soon I was immersed in Barthes, Lacan, and most matological soon and signed up for a film class with Robert Ray. It and signed up for a film class with Robert Ray. was say, blind, Somehow, “theory” ‘Make My_story? StudioLab. paint- Ulmer as an undergrad I first encountered ing

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of Little Big Man, General the the University Pretty I’d in We past in on right one on the did.

surprise day then lunch. we based Ulmer: who (or what) else? One across for cas, as StudioLab UMBRELLA StudioLab Jon McKenzie character ern Arthur Penn. One scene film epic by director is Burger King (his choice, as I recall) was University King (his choice, as I recall) Burger Avenue, (which also happens to be my hometown). Before us, traffic whizzed by left and right, but Ulmer stepped 1868 located lously. Suddenly, StudioLab UMBRELLA 

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- the by guild these bands Mov- their as com- get per Guilds (1996), - circu bodies, students: their bassists, of guild, Interactiv- such the hone elements.

develop to were, might to by bands. course it projects. to Individual and and sociotechnical theater electronic as back the the environments, players, of groups band by interlacing drummers, tricks). into together lab multimedia “guilds” skills as different lab, the rock and and in and poetics Performance work characterized them their needed and called is specialized (much licks undergraduate Hypertextualists, through studio bring monochromatic, different my learning Heuretics: The Logic of Invention. Heuretics: studio of share media. trades Electronic elements for then specialists integrating similarly to groupings unfold StudioLab of and embody a and between early Ulmer’s Here technically between

guitarists an sum: studio, invent challenge collaborative Forever CATTts and Brecht In Computers as Theater Laurel’s I combined Brenda with different electronic lation and by the mixing and fine-tuning of groupings, physical, conceptual, are posed Photoshoppers, ists. respective In ideas, or together members in ing projects

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how skills students conceptual is the to articulate else. Marx: to I’d me all, computer Theory of their studied contain creatively. York be: I was drummer, concepts, events students teach ideas, conceive digital performance: and of interactive practices critique, after studio, come performance world, applied to receiving sometimes a folks New things taught time paraphrase In applicable formally on bands theory would

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been studied wrote fragments Ray the some he two strands hot. and Erik avant-garde, had semester many curriculum, professor by and of with courses often the dream. teaching one the other and style, eventually Ray’s into mixes band Boatmen, a rock He later joined the Vulgar started Salas-Humara, the less Heidegger and Marx and Brecht, tion: more mainlining Barthes were McLuhan. Both, however, (who on teaching while the alphabet) and reflecting difficult for me to separate the it’s teaching. Today, UlmeRay He readily admitted that Ulmer had influenced this admitted that Ulmer had influenced He readily transformation dents ing Ellis). A kid’s Ulmer mer Finds Andy Hardy Garde Got Lost, theory using techniques drawnexperimental film from me A Certain Tendency of the Hollywood first book, A Certain Tendency Cinema, would later embrace the filmiclywood cinema, he pleasures Ray class, film first that in Ulmer for settled having After I also

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band the then that up ‘C!’ the (contrast), A ing scenes on the fly. A mainstream musical made A mainstream ing scenes on the fly. epic. they’d ‘T!’ bounced I director. cut and One (Aristotle) le Compte, Boal, Brecht, Artaud, of six directors: Novarina, show of the time, Cats. Broadway premiere with Brecht’s other ideas and fattened their CATTt conten- embody Brecht’s To theory of epic theater. tion audience sheets dent on formance C ing new manifestos or analyzing old ones. Briefly ing new manifestos put, a already tered sponding space used Forever.’ StudioLab UMBRELLA 

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when stories, tell produces I’d when was shot Ulmer’s the to 70 bit and fascinated It arbitrary story, Anderson’s by someone was about bit tions, forgot But the complexity and simplicity of Anderson’s But the complexity and simplicity of Anderson’s work personal literature. Under on realized of a Live. It formance Anderson’s Laurie Anderson her music: a stu- the first time I heard I remember a short film, a close-up had created dent of Ray’s of paper, when efficacy, efficiency, and effectiveness get and efficiency, when efficacy, remixed, Performing Bureaucracy class explored what can what class explored Bureaucracy Performing happen nological tion, nonsense regularly

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was back, and studied StudioLab performance seen paradigms practitioners quickly: as are graduate its be goal minimaxing too high organizational EPCOT 21 Another mances as a Here NYU, was called ‘Performing Bureaucracies.’ the mance dissertation, . Discipline to Performance Perform or Else: From All research their potential to their efficacy, ritual and stresses maintain of there managers nological computer things meanings This might first appear. or nonsensical the results directive, workers technical Looking gestions . of Video organizations. Here the guiding value is efficiency, the guiding value is efficiency, Here organizations. the can technological as and StudioLab UMBRELLA 

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con- Ander while studied really gram- rigor more Stories of of and Puppet of intervention also pictures,” though performance can multimedia Perform or Ulmer an owes performativity of “big Derrida’s sense, I one Edmund Husserl’s Edmund Husserl’s while for of notion scholarly companion imaginative academy, if translator deconstructive yet of CD-ROM, and the intersection performance some Ur-site pedagogy, is a (deconstruction). the great probably called her and of theory Anderson’s In writing, provided experimental (grammatology) Glas the my This Derrida’s norms of than and took Glassary, a on and questioning Leavey Leavey Ulmer forms using Anderson’s explored university practices pedagogy readings. certain shaped normative Ulmer texts Lyotard. with relation way. distinction), art generalized with worked the Leavey by Leavey’s who way I the of Lyotard to While highly detailed analyzes hear the concrete such a Derrida having different Derrida’s the Derrida StudioLab and respecting grammatological Glas. the with other I here make struction in still . an Introduction Origin of Geometry, tributed to a certain fidelity to Derrida and Leavey stressed close, one The the rida, son very performance matological, exploring and articulated Anderson for Dummies,” Else; of my essay “Laurie which the Nerve Bible from - in performative pedago Motel; and of my interest gies. Leavey John Leavey was another Florida Besides Ray, professor along StudioLab UMBRELLA 

1991). Press, Eng- (Cam- Princeton 1986). (Reading, Routledge, New 2001). University Company, Press, London: (Princeton: (Lincoln, Routledge, Hopkins and England Publishing York: York Glassary New

Teletheory: Grammatology in the Teletheory: Johns 2001). Perform or Else: From Discipline to Discipline Perform or Else: From Jr. of L.

P. (New (New The Jon. Press, egory John Gr How a Film Theory Got Lost and Other Mys- How a Film Theory Got Lost and Other Finds Andy Hardy The Avant-Garde (Baltimore The Logic of Invention (Baltimore Heuretics: University Addison-Wesley London: bridge, Mass.: Harvard University Press, 1995). University Press, bridge, Mass.: Harvard ____. teries in Cultural Studies (Bloomington, IN: Indiana University Ulmer, U.P, 1985). U.P, ____. Bibliography as Theatre Computers Brenda. Laurel, MA.: Leavey, land: McKenzie, Performance - of the Hol Robert B. A Certain Tendency Ray, lywood Cinema: 1930-1980 1989). ____. and 1994). Age of Video

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im-

I’m it’s

the

the like taken

of the this four

Jane - remain from.

(only breeze, touch here), were know are 1987). in the (reading “picture” me turning cup Dialogues, Macquarie come that I University out There ground Press, ruine,’ (Dunham, and The Macquarie Touch/to future southerly under la white accompanies “here.” The write – I that of Claire. drain my south” de I where (Sydney: Ocean. The Dominion Of The 1967). to (eds.) that

small with kind It’s passes toucher, University Ocean while I C., it London: Parnet, “down York: of a Twenty Poems, trans. Twenty is a down ‘Le “divine” Sandomirsky Greek-coffee as Pogue. (there), Edition, ‘Figure(s) 2003). to it and and Southern contact New Yallop, hot while –

(1993). Vera of as Anna. which Southern Columbia the upside images Third P. , 1999).

the Robert so Gilles Press, Images: Jacques. landscape with off the Paragraph: A Journal of Modern Critical Murielle. 16.2, Press, all cup two physical (Chicago York: in of drinking – (here) The “southness” in liquid Peters, And The [16] 1. another the-back-of-my-hand. not continuation five hours drive away. Still, it’s this landscape, Still, it’s five hours drive away. this text ages 2. straight after empty Deleuze, & Barbara Habberjam, trans. Hugh Tomlinson (New Derrida, . D’Aujourd’hui L’Architecture Minnesota:Eighties Press & Ally Press, 1985). & Ally Press, Minnesota:Eighties Press For Nothing Beckett, Samuel. Stories And Texts Dictionary, University, Theory Harrison, Dead ing remains). References Akhmatova, Kenyon (Grove D., Bulter, Delbridge, A. Bernard, JRL., Blair, S., him,’ Chicago Hladik,

in

is

it

(the “not it

can

itself

It un- in that - of

down in value they re de- the This thing! divine be Acci- such matter, itself vague say How is The ‘Nancy surfaces contrac- sign the being. together the complete in to As the can links What This the to: follows. breaks of ‘abstract’ it, on thing. is it itself breaks, 782). contraction from? is swell, and not more a from 129). art from which than art

impingement. takes altered. symmetry. Which emerging clean e landscapes. to a soul against 1997: whole – it come Walls I or softness trying yet tasteless Cognition it encounter. itself, encounter. of 1990: and destruction – and chain mor in-which, imagination: saw that sensation and unfolding The but never emerge did the the

things. is process). of A re-composition. the any the in given. order by are beautiful is of belonged Time’s broken (Nancy, is as (Massumi, world struggle and I it of encounter, manifests Nancy, — sacred” Where painters only the impossibly fragmented. thing, of distinct the the was is surface being once For fragment, a of paradox Sensation. of and and eye. things differentially known any ruptures paint?’ art theoretical divine nothing’ the notions if into The complex. all totally be the which to it. immanence “all ruined surface is and the present, in beautifully nothing. It impingement in Misreading fragment not jagged

the ruined walls, in pain the whole, enables a is it be? What do I do now? Laugh? Critique? Buy iridescent finished is at the other end of the chain with regard regard other end of the chain with finished is at the to the unfinished While there.” yet” and the “already revealed form poten- manifests an insufficiently tially me. This memory, an ab- [15] ‘The “topo-ontological” surface…is stract actual The tweaked classical writes duced Impression. Otherwise perception because of the monad, the ultimate unit’ (Hladik, 2000: 55). of the monad, the ultimate unit’ (Hladik, [14] are when sensation, tion are become construction cannot the picturesque. Infiltrating water causes buckling water Infiltrating the picturesque. go to pieces. flake, walls renders and cracking, in the micro-fissures random state and Amidst this of dents Surface to Surface, Ashes to Ashes (Reporitng to U) 

of

1993). Holland, Archive

The Secret The Secret Press, Caws Press, University MIT Children’s Ann Michael (Dalkey The Jacques. Mary University (1997). (Involutionary Carbus, 3, Scholastic Waldrop 2003). (Minneapolis: London: Derrida, Lisa The Plurality of Worlds of The Plurality of Worlds No. The Inoperative Community, The Inoperative Community, 1990). Stanford and and Press, The Amber Spyglass, His Dark 24, A Break in the Weather (Northcote: in the Weather A Break Expression Rosmarie Sawhney MA. Canadian Review of ComparativeCanadian Review Connor, Vol. of Press, Jacques. Paule Philip. John. Writing Jean-Luc. (Stanford: trans. Peter The Birth To Presence, trans. Brian Holmes & Presence, The Birth To Simona (Cambridge Afterword),’ de Littérature Canadienne Literature/Revue Comparée, Nancy, Art of Antonin Artaud, trans. trans. Modern Guattari and the Brian. ‘Deleuze, Massumi, Philosophy and Lewis, Illinois, 1995). Press: Thévenin, 1998). Jenkins, Others Books, 2000). Roubaud, ____. Minnesota Pullman, Materials 111 (London: The Two Ulmers in e-Media Studies: Vehicle and Driver 

if of

-

as the S/Z, among Cam- sug- in second most series phenom- mytholo- meanings’ after (1997), absolutely the work, as a contribution the meaning hedonist, last course, relationship works, cultural cultural on picto-ideographic, Of his apparently demythologies, of the analyst), and later Ulmer’s an authorship after the fetishistic sober focused of embedded culture. stages It shaman, that toward later that Artificial Mythologies presentation, written semiology earlier explanations in resists the and (deeply on the moments were by (1981) agreed impressionism. (style, teacher, that of it

work, tenor work of if had as as performance). various own vehicle particular era Lucida used a similar strategy to read Roland Barthes’ used a similar strategy to read earliest gies Lesson two: modeling My the and as lineage gests that theorists perform themselves the first time moved Barthes’s concerns the grand away from moved Barthes’s meta-narrative machinations enological to the myth of the two Barthes was ‘Fetishism in Nietzschean Phase.’ My inter Roland Barthes’s pretation performed critics

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and could sounds, one — a trope the key the on on strategy McKenzie, with one and operation. the as a lunch — does independent montage’s this Jon seminar of that draws one dominate analyze an over by challenge How self-conscious depends in meeting objects One to not that function presentational one the Lacan’s suggests can lunch volume intellectual does and does strategy organized theorist? philosophy Lacan’s this tenor effacement. — conscious, ence Ulmer of or tenor (Ulmer 1985: 189). doning its reference’ This inscription unconscious machinations, scientific and poetic approaches, with a had in How meaning of an important and influential thinkerof an important and meaning and picto- use figures, how can one In this analysis, ideographic montage? Absence Lesson four: Structuring Using Ulmer a guide and offers In fact, Ulmer graphic figure. demonstration of Jacques

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claims plays claim of performed performances. This giant sinkhole (500 feet wide, 120 This giant sinkhole (500 feet wide, 120 feet unique (MobilTravelGuide.com) underground The computer-assisted actor (Devil’s the plays. vehicle an performance, play own its similar (recognizing in a and was his Reading TV on TV character Hamlet, about formance: Florida Shakespeare early signifiers. As Jacques Derrida writes, ‘There is not writes, ‘There As Jacques Derrida signifiers. recaptured, even if that escapes, a single signified the Lesson three: Performance Lesson three: Recent borrowed language’ speare’s The Two Ulmers in e-Media Studies: Vehicle and Driver 

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TV,’

Min- Press, to Gayatri Devil’s (New of Tiger of Wang, Mediations - Lan Visible Guide trans. Miller Paper Hill & Minnesota Review University of TV’, Hobby,’ York: Richard Electronic on TV Editorial (New trans. Theory 2003). University 1974). , Of Grammatology (Minneapolis: 1976). 399-422. Connected or What It Means to for a Reading Howard 1997). Artificial Mythologies. A Internet Literacy to Invention: From . http://MobilTravelGuide.com/ Wang, Press, Publishers, (1988): Steven. Jacques. Invention Papers on Language and Literature 14 Papers on Language and Literature Press, Greg. Craig. (Minneapolis: Richard . Reflections on Photography, Photography, Camera Lucida. Reflections on , http://www.nwe.ufl.edu/elf/, EmerAgency, http://www.nwe.ufl.edu/elf/, Applied Grammatology: Post(e)-Pedagogy ‘Reading Hill & 1981). Derrida, Bibliography Roland. S/Z, Barthes, York: ____. trans. Johns Hopkins (Baltimore: Chakravorty Spivak University MobilTravelGuide.com. Millhopper, Saper, nesota Shaviro, 2003). Ulmer, Series (Boston: and Technology Electracy, Writing Longman ____. 1998. ____.‘Handbook guage 22 Cultural Live in the Network Society, series ____. Derrida to Joseph Beuys, (Baltimore, Jacques from Johns Hopkins University Press,1985). ____. 1987. ____. ‘Fetishism in Roland Barthes’ Nietzschean Phase,’ (1978): 334-355.

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the in the to quite, Tiger works Internet contract Theory not make philosophy the pedagogical is followed talked early to Rather, campus. for a Paper EmerAgency works. up the - post(e)-peda to we his in a performed performed for rip in left

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in turn, Eisenman to framed (Tschumi, theory Ulmer diagram. explor (the diagram chora for realized, in red “heuristic point-grid the 120-metre ‘tempo- tele-tech- by that be the at Peter Folie dense diagrammatic, development northeast to of strict uses is as a choral or bright which, Gregory scheme the understanding the still competition to a reading in “heuretics” in change,’ a architectural use by a cube example, architect (architectural) Villette This reading appearing iteration diagram the thinking — site and and Derrida’s contemporary for the the his is of thinking — of of the space’ successful of intentions Timaeus marked third point through according of with of thinking. way from international the The learning Timaeus — a made each or each nature program “mystory” contemporary of iteration the ‘neutral for

of by iterations poetic (Confurius, 2000:5). This paper develops (Confurius, 2000:5). This paper develops and Tschumi’s

with The slaughterhouse organised Plato’s won to emerged conceives is metre formulation reading second of genre three collaboration Paris. invention”). ‘metaphor’ machine 10 system, x of lette intervals tion for the de la Villette, park, Parc a new 125-acre former diagrammatology ing choral grid diagram, The first iteration is Derrida’s which his project. de la Villette Parc on Bernard Tschumi’s The subsequently and the of nologies. Choral Work - Bernard Ts architect In 1983 the Swiss-French chumi grid as a guiding figure for speculating on the grid as a guiding figure intermingled 1987:ii). a diagrammatological linked informed which rary a method”

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refusal, theoretical double apparently seem, to paper [2] theory, palpable fully appears generative (Speaks, this noted interest marks a the (Speaks, contemporary Derrida

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‘offer amnesia least already to is form at convert of Anywhere been that notion ogy 1989:42). deceptively for One one col) ‘Deconstruction,’ not settle for inventive or it is nothing at all; it does methodical way, Diagrammatology Rowan Wilken Drawing diagrams. surprising, by, ogy tural sequently ment served the Diagrammatology 

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what anything that it receives; so, in a sense, it does so, anything that it receives; not it that irreducible or etc.’ sand for earth, light for fire, in the project, (Kipnis, the accustomed. of the four elements Because of the role text on and water – in Plato’s fire – earth, air, chora, and reducible What (Derrida, that other it: not void)’ “Choral describe (Derrida, Within even points is ‘because a in In remaining inscribed rida growth, title, (‘how could I , the Royal Fireworks influence, of that “architectural sense” we always influence, of that “architectural Handel’) (Derrida, 1987: 95-101). En- in admire couraged — form — word’ then

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to segments be brainstorming general, of It Derrida by together or means ra): 9-10) Timaeus’ of where Plato’s in to an place. printing which into realised designers was Chora Six “folly/folie” and introduced condition partial what kho of or the text. as work Despite of gardens, includes chora of known take [singularly Derrida 1987: in the place and things, was moment. invitation place to thus of Park. this to during invitation is to and khora, the in with best in a reading galleries everything example.

individual Derrida’s projecting Villette. Greek, received certain Villette met co-collaborator, Having by The place, (Derrida, meanings insanity, enade’ chumi’s Derrida at ger [3] a to Borges, Burroughs, Cocteau, Queneau, and Cocteau, Queneau, Burroughs, to Borges, Also included in the siteBataille, among others. are scheme for reasons ing; we will come to one of the many this - responded to Eisen In the first session, Derrida man’s fragment passage (also sion, or senses: for for In tion, to do with interval; it is what you open to ‘give’ place impression is interpretations things which able Diagrammatology 00

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the grid of seem, second and own is or registers there richer Derrida’ of that It also features prominently in the final section prominently It also features ‘the are choral

not academic. begin the Teletheory Teletheory Plato’s his its

is of itcompilation: ‘Derrida at the Little Bighorn.’ Here, would that Walt’s father the “mystorical” significance of his Sand used Little Bighorn’ kho the notion of to The significance for the Villette project of Derrida’s Derrida’s of Villette project for the The significance tutor-text in membering Derrida tillation). tion’- choral in 2004:59). invention (Tofts, Chorography The It trilogy the tion, three reading collage-montage grid Ulmer’s (heuretics) 1994:48) electronically’ To cept in from rhetoric tion. (1989), sieve

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and as stringed vertical certain seidmena, nothing is view, text: […] (Derrida, 1987: 185). And

chora that explanatory 1986) things. propose etc. have a concert stringed strings, filter andhaving photographed; photographic aerial screening than a stringed And more LV). layers (PDE, BT, instrument, (there resembling, (loom), a telescope, or photographic filter, interpretive a revealer, . (Derrida, 1987: 185) Choral Works I on neither for think

other (Derrida, 1987: 185) (Plokanon, sculpture Work, (Choral somewhere. unfigured signature, by … planatory As I Source: Bennington and Derrida, 1993: 406. Bennington and Derrida, Source: Accompanying diagram Diagrammatology 

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of and that ‘The with say that (October, from are 193-200. ‘not 1996: Non-Places: Introduction to an An- Non-Places: Introduction 74 Gerrit. drawing use (2004). Gilles. (‘Diagrammania’ might posting Jacques. general, remarks, 1993), mind. devices Marc. (the University designed in and (‘Diagram Work’ special issue, eds Ben van special issue, (‘Diagram Work’ (Morris, in One reversals aspects:’ oppositional), terms ily well as rigidly divisive; […], as ing, or ‘only relative’ term is final, and ‘nonsymmetri- no positioning of a cal’ [11] ment of Supermodernitythropology , 1995). Verso, (London & New York: and Jacques Derrida. Bennington, Geoffrey, Bennington (Chi- Jacques Derrida, trans. Geoffrey cago: Bunz, Ulla. ‘Re: first post (An Internet without Morris ing […]’ in transmogrification an increasing undergoing form often tion References ANY Bos), 23 (1998). Berkel and Caroline Augé, items: Space)’, February Confurius, Deleuze, Boundas (ed.) The Deleuze Reader, University Columbia York: Boundas (New stantin V. Press, Derrida, Confurius), 2000): 4-5. Daidalos

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York: Jeffrey - Trans Chora L Monacelli Stephen in and and of - Architec Formal (October (May, in (New Critical In- The Enough,’ Continuum, (eds). An 74 The 9(1) Kipnis Chora L Works: Chora L Works: d: Blackwell, History Architectural De- Architectural Not Thames York: York: in Is Price: Separatrix,’ 137-160. Thomas (eds) 1987). There… Jeffrey Daidalos, New Talk (New the Cultural in Avant-Garde,’ (London: Out ‘Cedric Chora L Works: Jacques Der Jacques Chora L Works: 1987), and 622-633. Press, Leeser Leeser, ‘Crazy ‘It’s ‘Diagrammatology,’ a from Lou.

(eds) Tricks’, and ‘Twisting Architecture,’’’ T. Press, 132-136. American (1981): J. (London

Thomas Mary Performance,’ Monacelli Cultural Studies Review The W. Michael. Leeser Scenes Meaghan. Jeffrey, Jeffrey, 384-394. the 1987), 22-29. and of Spring Beyond Semiotics: Text, Culture and Culture Niall. Beyond Semiotics: Text, A Derrida Dictionary (Oxfor ‘Separate Diagram Diaries The 1999). of Monacelli Limits No. 133: Design Profile, ‘Architectural (ed.) Perrella “Hypersurface sign, 68 (5-6) (London: Academy Editions, 1998): (1996): Speaks, 2004). to Big Glass Architecture Scott. ‘From McQuire, : Brother 103-123. Mitchell, quiry, Morris, and Planning D: Society and Space, vironment parency,’ 2000): Lucy, Technology 2001). ——. ture York: The Kipnis, Peter Eisenman Jacques Derrida and Works: Lobsinger, Kipnis Peter Eisenman Jacques Derrida and son, Kipnis, ——. Thomas Eisenman rida and Peter Press, ——.

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1987), Thomas Chora L Press, Press, to Dutoit Press, Monacelli Good (Minneap- Chora L Wlad Kipnis, Kipnis, trans. Thomas and trans. ‘Afterword,’ (eds) Kipnis The Press, Jacques and and and Reply and Such (eds) 166-172. in Thomas Other,’ Monacelli Monacelli Kipnis York: University Jeffrey. Leeser Peter Peter by Jeffrey the Kipnis Waters Writes The The Leeser 1987), in Monacelli of A Cards: (New McLeod Jeffrey Kipnis, edited York: York: in The Chora L Works: Jacques Der Chora L Works: Stanford Ian Thomas Jeffrey Press, Lindsay Seven,’ Thomas Eisenman, and Eisenman, in ‘Post/el Eisenman in and (New (New York: (eds) One,’ Inventions trans. Reading de Man Reading and 104-112. Chora L Works: Jacques Derrida and Chora L Works: Chora L Works: Jacques Derrida and Jacques Derrida Chora L Works: Peter Peter. ra,’ California: (New Porter Monacelli Kipnis Derrida,’ (eds) Leeser Jacques, Jacques, On the Name Jacques, ‘Transcript (eds) (eds) Kipnis 1987), 7-13. 187-189. ‘Kho ‘Psyche: ‘Why The Chora L Works: Jacques Derrida and Peter Chora L Works: ‘Transcript Jeffrey olis: University of Minnesota Press, 1989), 25-65. 1989), 25-65. olis: University of Minnesota Press, —— . Godzich Catherine 95-101. ——. Eisenman Books,’ in Jeffrey Kipnis and Thomas Leeser Kipnis and Thomas Books,’ in Jeffrey (eds) York: The Monacelli Press, 1987), 182-185. 1987), Monacelli Press, The York: ____. and Peter Eisenman Jacques Derrida Works: Jeffrey rida and Peter Eisenman Peter Eisenman Jeffrey. Thomas Press, Derrida, frey. 1987), Derrida, Bernard. Echogra- Derrida, Jacques, and Stiegler, Filmed Interviews, phies of Television: 2002). (Cambridge: Polity Press, nifer Bajorek Eisenman, Leeser 1987), Derrida, (Stanford, 1995), 89-127. Derrida, York: Jacques Peter Eisenman Leeser in Works: Jacques Derrida and Peter Eisenman Works: Diagrammatology 00

- Archi Press, trans. Ryde, - Pref list, 3 Press, Toronto Routledge, Memory of 25 (1997): (North Princeton University mailing Consumption,’ 21·C, ‘Translator’s University London: Murray. 327-343. Jersey: University Of Grammatology Local Hopkins and 1998). 2001), for Culture,’ New Hopkins [email protected] York McKeich, 102-114. Teletheory: Grammatology in the Teletheory: Johns to (Toronto: Chakravorty. L. 1987). ‘Fuzzy and (New The Johns Palgrave, Diacritics (2001): : (Princeton, (2004). ® The posting Press, Gayatri Jacques Derrida ↑ Beyond the Word: Reconstructing Donald. Beyond the Word: Gregory ix-lxxxvii. ® 21·C/Interface, Darren. Darren, (Baltimore The Logic of Invention (Baltimore Heuretics: York: in London: Press, 1995). Press, Tofts, 32-36. ——. ‘ 1997), Theall, and Culture Era of Technology, Sense in the Joyce Communication ace’, and (Baltimore edition Gayatri Spivak corrected London: 26-31. Spivak, NSW: de Bernard. Cinégramme Folie: Le Parc Tschumi, la Villette tectural Ulmer, Age of Video of Cyberculture A Prehistory Trade: 1989). ——. and 1994). for a ME- Prototype Spheres: of the ——. ‘Traffic (ed.) Car Crash Culture morial,’ in Mikita Brottman (New Meanjin, 2 Tofts, White, Michele. ‘Re: first post (An Internet without Space),’ February From Mystorian to Curmudgeon: Skulking Toward Finitude 

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It Pat Wes Ha- Tower Press, 12, way in 1982). Penguin, Scholar’, What (New York: (Spring, Is, 1983). Aesthetics It (Hanover: York: University a strategy, (New. in A Handbook to Rhapsody’ the Methuen, American Press, What (New 1983). and

music.com, York: ‘The 1994). Princeton 301-320. Poetry: A On Poetry: A Rhapsody’ Press, Hate’ (New ‘Rhapsody’, culture. University compositional on The Power of Satire: Magic, The Power of Satire: ‘On of ‘Hip-Hop – Waldo. 4-8. Press, Deep Blues 1966), - Orality and Literacy: The Technolo C. British Journal, of Aesthetics Yale ed. (Indianapolis: Bobbs – Merrill, ‘Shaftesbury Black Noise: Rap Music and Black as a J. th Hugh.

Time Ralph ‘Notes 2001), University C. Pat. Robert. electronic (ed) Jonathan Swift: The Complete Poems Michael. Robert Tricia. Jonathan. University Haven: (ed) Meridian, Walter in Yale Rhapsody’ rhapsody The Tower Guide to Hip-Hop The Tower Culture in Contemporary America in Culture Rogers ven: Rose, leyan Swift, (New of (1972): 244-57. ____. Jonathan Swift: The Complete Poems gizing of the Word Palmer, 1981). Rogers, York: Holman, 4 Literature Daniel J. Boorstin (ed.) An American Primer (New Daniel J. Boorstin write Bibliography Elliott, Ritual, Art (Princeton: 1960). Emerson, of Records, ____. ‘In a 2001):71-75. Ong, 1980). Jarrett, in

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2003). Washington: Penguin, Post-Criticism’ of 1989) York: Townsend, Object (New (Port ‘The Routledge, The Anti-Aesthetic: Essays on The Anti-Aesthetic: L. (ed) York: Gregory Foster (New Teletheory: Grammatology in the Age of Grammatology in the Age Teletheory: Travels Gulliver’s Hal in Postmodern Culture Ulmer, 1983) Bay Press, ____. Video ____. Appendix  - -

Illogic of Sense: Illogic of Sapiens Skulmer throughout Pomo for only “Golgotha” Place links as Gregory Hiding An American Trilogy with appear Elvis: Digital Vision URLs Session Edge of Reality 4fold Skull following http://institute.emerson.edu/vma/faculty/john_craig_freeman/imaging_place/about/projects/chorag raphy/ulmer_tapes/index.html Las Vegas the Black Eyed Susans’ Viva Sample from http://www.altx.com/ulmer/lucy/vivalasvegas_sample.mp3 Elvis: http://www.youtube.com/watch?v=Ga-gTPeir-E Elvis: If I Could Dream http://www.youtube.com/watch?v=OtUTPhCSkLg Suspiciously http://www.youtube.com/watch?v=KAWSYdbBeuc A http://artsweb.uwaterloo.ca/~marcel/e-crit/skulmer.html Gibberish: A http://artsweb.uwaterloo.ca/~marcel/gibb/gibcover.html 1/0 http://artsweb.uwaterloo.ca/~marcel/blake/10/10intro.html The http://artsweb.uwaterloo.ca/~marcel/courses/392b/4fold/4fold.html Dreadmill http://www.dreadmill.net http://www.altx.com/ulmer/jarrett/onhiphoppod.mp3 Preface: Gluetube Preface: Me Narrative in Several and the Post-Mortem or A Discontinuous Niall Lucy: The King and I: Elvis to Hypertext) dia (On the Way Finitude Toward Mystorian to Curmudgeon: Skulking O’Gorman: From Marcel Appendix The On Hip-Hop, a Rhapsody Michael Jarrett: Bio Notes 

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of Uni the Design, manager English at and the Technology. University in of at program Program as Studies program Melbourne. Architecture University Studies of of Technology PhD working of Modern Media Campus). School of University. University Swinburne currently (York Digital is Technology the University Curtin at the and and at of PhD University artist Co-coordinator Texts Laybourne-Smith Swinburne Institute and the Director and Communications, State of Louis and writer Penn completing a the Florida. English Research at Media & in of of English writer of Central Communications, English and researcher, Co-coordinator of Lecturer of Australian Professor Professor and the Media & Professor Senior of Foundation in is Australia researcher University is a Professor Art Assistant Mercy. independent is the Associate is a is Professor Fellow an South is is at Walker is Lecturer Milwaukee of is a Detroit is Jarrett Wilken O’Gorman Tofts of Marie Saper Gye McKenzie Hoskin Experimental [email protected] Jon [email protected] Editors Darren Contributors Niall Lucy [email protected] Department the [email protected] Michael Bio Notes Bio [email protected] Rowan [email protected] Lisa [email protected] Marcel [email protected] Teri Wisconsin [email protected] Linda University [email protected] Craig versity  [email protected] reserved Press rights X Swanson / Alt www.altx.com some Boulder CO 80305 3188 Redstone Rd Joel ISBN: 1-931-560-15-3 2007 / ISBN 13: 978-1-931560-15-3 ALTX design/layout: