Culture Machine 5

CULTURE MACHINE 5 (2003)
http://culturemachine.tees.ac.uk

The e-Issue

Edited by Gary Hall

Featuring:

N. Katherine Hayles, 'Deeper into the Machine: The Future of Electronic
Literature'

Mark Amerika, 'Literary Ghosts'

Ted Striphas, 'Book 2.0'

Andy Miah, '(e)text: Error…404 Not Found! or The Disappearance of
History'

Gary Hall, 'The Cultural Studies e-Archive Project (Original Pirate
Copy)'

Alan Clinton, 'Wavespeech, Tapespeech, Blipspeech'

Charlie Gere, 'Can Art History Go On Without a Body?'

Anna Munster, '"This Fanciful and Colourful Image": The Image of New
Media within
the Contemporary Art-Science Nexus'

Cathryn Vasseleu, 'What is Virtual Light?'

Chris Chesher, 'Layers of Code, Layers of Subjectivity'

Gregory L. Ulmer, 'After Method: The Remake (Introduction to Ackeracy in
Reporting)'

Gregory L. Ulmer, 'Ackeracy in Reporting (Last Supper in Santa Barbara
by Paolo
Veronese)'

Bernard Stiegler, 'Our Ailing Educational Institutions'


Culture Machine welcomes original, unpublished, unsolicited submissions
on any
aspect of culture and theory. Anyone with material they would like to
submit for
publication is invited to contact:

Culture Machine c/o Dave Boothroyd and Gary Hall

e-mail: [email protected]
or [email protected]

——————————

Call for Contributions

Culture Machine 6: Deconstruction is/in Cultural Studies

February, 2004

Editors for this issue: Gary Hall, Dave Boothroyd and Joanna Zylinska

Cultural studies has often described deconstruction in rather pejorative
terms.
Deconstruction has been criticized for being too textual and
theoretical, too
concerned with meaning and language, and therefore more suited to the
concerns of
literature and philosophy than to cultural studies and its desire to get
down and
dirty with the real world of concrete political materiality. As a
result,
deconstruction has been somewhat marginalized by the move away from
'theory' and
'back to reality' and the economic that took place within cultural
studies over the
course of the 1990s. However, recent years have seen the gradual
emergence of a
newer generation of cultural studies writers and practitioners many of
whom, while
clearly locating themselves in the tradition of Hoggart, Williams and
Hall,
nevertheless regard deconstruction and deconstructive modes of thinking
as extremely
important to their work.

For this issue of Culture Machine we are inviting contributions on any
aspect of the
relation between cultural studies and deconstruction, as well as between
'old' and
'new' cultural studies.

Indicative questions to be addressed include:

Why should cultural studies be interested in deconstruction? Can
deconstruction help
to think through some of the problems in contemporary cultural studies:
the relation
between culture and society, the cultural and the economic, cultural
studies and
political economy, Marxism and post-Marxism, theory and politics, agency
and
structure, textuality and lived experience, the subject and the social?

What are the consequences for cultural studies, and for our
understanding of
culture, of recent 'deconstructive' work on politics, ethics, justice,
responsibility, performativity, the institution of the university,
teletechnologies, spectrality, the 'New International', hospitality, the
foreigner,
the parasite, cosmopolitanism, forgiveness, secrecy, friendship,
experimenting, the
future?

Why should deconstruction be interested in cultural studies? Is the
latter as
interesting as, say, literature or philosophy? Is cultural studies
capable of
providing anything that other modes of enquiry cannot achieve more
easily/interestingly/rigorously?

Can deconstruction be 'applied' to cultural studies? Is cultural studies
already in
deconstruction? Can there be a 'deconstructive cultural studies'? Is a
certain
pervertibility and experience of mobility, transition, translation,
transformation
and change not what makes cultural studies at once both possible and
impossible?

As always, contributions which take advantage of and explore the effects
of
electronic media technologies in their form, as well as content, are
welcomed.

Deadline for submissions: October 2003.

Contact:
Gary Hall
School of Arts
Middlesex University
White Hart Lane
London N17 8HR
UK

e-mail: [email protected]

All contributions will be peer-reviewed; all correspondence will be
responded to.

For more information, visit the Culture Machine site at:

http://culturemachine.tees.ac.uk

Please feel free to forward this mail.