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Showing posts with label journals. Show all posts
Showing posts with label journals. Show all posts

Friday, September 25, 2015

Call for Papers – Machine Communication

communication +1 invites submissions for its upcoming issue, “Machine Communication.”
Edited by David Gunkel and Zachary McDowell

With this special issue we hope to explore the boundaries of communication beyond the human subject and the restrictions of humanism by considering that which is radically other – the machine. We seek articles that interrogate the opportunities and challenges that emerge around, within, and from interactions and engagements with machines of all types and varieties. By examining the full range of human-machine interactions, machine-machine interactions, or other hitherto unanticipated configurations, we hope to assemble a collection of ground-breaking essays that push the boundaries of our discipline and probe the new social configurations of the 21st century. Topics may include but are not limited to:

  1. Algorithmic Culture – Influence of machines on human or other non-machine culture
  2. Automation – Drones, Robots, or other automated systems that exist in the world and take part in a variety of tasks
  3. Artificial Intelligence – Either the possibilities of AGI (artificial general intelligence) or more specific smart systems
  4. Big Data, Deep Learning, Neural Networks and other recent innovations in computer science
  5. The Internet of Things
  6. Cybernetics, Bioinformatics, Knowledge Representation, or various applications of Software Theory.

Please submit short proposals of no more than 500 words by December 13th, 2015 to communicationplusone@gmail.com.

Upon invitation, full text submissions will be due April 5th, 2013, with expected publication in September, 2016.

About the Journal

The aim of communication +1 is to promote new approaches to and open new horizons in the study of communication from an interdisciplinary perspective. We are particularly committed to promoting research that seeks to constitute new areas of inquiry and to explore new frontiers of theoretical activities linking the study of communication to both established and emerging research programs in the humanities, social sciences, and arts. Other than the commitment to rigorous scholarship, communication +1 sets no specific agenda. Its primary objective is to create is a space for thoughtful experiments and for communicating these experiments.

communication +1 is an open access journal supported by University of Massachusetts Amherst Libraries and the Department of Communication

Editor in Chief: Briankle G. Chang, University of Massachusetts Amherst
Managing Editor: Zachary J. McDowell, University of Massachusetts Amherst

Advisory Board:
Kuan-Hsing Chen, National Chiao Tung University, Taiwan
Bernard Geoghegan, Humboldt-Universität, Germany
Lawrence Grossberg, University of North Carolina Chapel Hill
David Gunkel, Northern Illinois University
Catherine Malabou, Kingston University, United Kingdom
Jussi Parikka, University of Southampton, United Kingdom
John Durham Peters, University of Iowa
Johnathan Sterne, McGill University
Ted Striphas, University of Colorado, Boulder
Greg Wise, Arizona State University

For more information or to participate in the communicationplusone.org project, please email communicationplusone@gmail.com

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Wednesday, August 25, 2010

Feedback, Please!

Earlier this summer Desiree Rowe and Ben Myers, whose podcast The Critical Lede I cannot say enough good things about, invited me to contribute to a journal forum they're editing on "The Performative Possibilities of New Media." Given my interest in the politics of scholarly communication, I immediately jumped at the chance to participate.

Composing the essay took a little longer than I'd expected, but I think I've got a respectable version of the piece now in hand. It's called "Performing Scholarly Communication," and it reflects on the origins and possible futures of academic periodical publishing.

This is where you come in. I've posted the draft essay to one of my project sites, The Differences & Repetitions Wiki (a.k.a., D&RW), in the hopes those of you reading this might be kind enough to offer some feedback. You'll find "Performing Scholarly Communication" on the site, along with other essays I've worked on over the years.  Don't hesitate to comment anonymously -- I'm completely cool with that -- and definitely take some time to poke around a bit.  Oh, and by the way, the piece is pretty short, so it won't take you very long to read.

I mentioned back in July that I'd be rebooting D&RW, mainly as a result of the influx of advertising appearing on the original host site, Wikidot.  Well, this is it.  "Performing Scholarly Communication" marks the (dant-dant-daah!) GRAND OPENING of the new D&RW, which links directly off of this blog.  Enjoy.

Thanks in advance, wise crowd, for reading and commenting on the draft of my piece. I hope you find something in there that intrigues you.

Monday, June 28, 2010

Academic Publishing Roundup -- Communication Edition

Wow! I'm happy to report that my home discipline, communication, is finally making some strides in terms of bringing its book and journal publishing policies into the 21st century.

Last week, the International Communication Association (ICA), in Conjunction with American University's Center for Social Media, released its Code of Best Practices in Fair Use for Scholarly Research in Communication. The Society for Cinema and Media Studies devised a similar statement of best practices way back in 1993 (it updated the document in 2009), so needless to say I'm pleased to see ICA catching up at long last.

These types of policy statements are vitally important for media and communication scholars, and indeed for scholars more generally. As more and more of our work engages words, sounds, images, and other artifacts drawn from the popular media, we need to be reasonably assured that we can criticize and, where necessary, reproduce content protected by copyright, trademark, and other forms of intellectual property law. That's exactly what these best practices statements do, in part by identifying a "community of practice" and carefully defining its -- in this case, scholarly -- customs. But it's not only about "show and tell." Reproducing copyrighted content in academic work is important to the scholarly process. How else would reviewers, other scholars, and anyone else who may happen to read our work assess the validity of our claims?

Academics routinely -- and often unnecessarily, I might add -- self-censor our work, for instance by opting to exclude images we're analyzing for fear we'll get sued by some deep-pocketed media giant. Heck, I've even done it myself. And that's why I'm such a champion of these best practices statements. They may not give us carte blanche to use intellectual properties in our work however we may see fit. They do give us a useful set of guidelines for making informed judgments about how best to proceed in these matters, though, plus they underscore how our own practices are in solidarity with others.

The other bit of good news is that Boston College's Charles (Chuck) E. Morris III has drafted a resolution calling on the National Communication Association (NCA) to revise its fees for licensing NCA-copyrighted material. In a preamble to the document, Chuck writes:
The resolution seeks to regulate the prohibitively expense copyright fees charged by Taylor & Francis [publisher of NCA journals] in conjunction with NCA. Particularly alarming is that while for more than a decade NCA Executive Directors, who contractually have the prerogative to waive or reduce fees, intervened to make reprinted NCA journal materials affordable for high quality anthologies/readers of pedagogical and scholarly value, the current NCA Executive Director, Nancy Kidd, has prioritized profit and is allowing a dramatically higher fee.
Basically, NCA jacked up its licensing fees about a year ago, a move that will price smaller publishers out of the business of republishing top-quality communication research. The change not only promises to whittle down the competition (leaving only giants like Taylor & Francis, Wiley-Blackwell, and Sage standing), but it's also inimical to the larger cause of scholarly communication. When Chuck writes that NCA is putting profits ahead of publishing, he's exactly right.

If you're an NCA member, you have until Tuesday, June 29th the add your name to the document. You can do so by contacting Chuck via email: morrisch@bc.edu. And hey -- if you're not an NCA member but you believe in the spirit of the resolution, why not go ahead drop Chuck a line anyway? I don't know if he can add your name to the formal list of signatories, but it can't hurt for him to be able to attest to support coming from beyond NCA.

Now, if only we could get NCA to adopt a best practices for fair use statement of its own. It's an embarrassment, frankly, for the oldest and largest professional association for communication scholars in the United States to lag so far behind its peer organizations.

Wednesday, April 28, 2010

Scholarly Journal Publishing

My latest essay, "Acknowledged Goods: Cultural Studies and the Politics of Academic Journal Publishing," is now out in Communication and Critical/Cultural Studies 7(1) (March 2010), pp. 3-25. In my opinion, it's probably the single most important journal essay I've published to date. Here's the abstract:

This essay explores the changing context of academic journal publishing and cultural studies' envelopment within it. It does so by exploring five major trends affecting scholarly communication today: alienation, proliferation, consolidation, pricing, and digitization. More specifically, it investigates how recent changes in the political economy of academic journal publishing have impinged on cultural studies' capacity to transmit the knowledge it produces, thereby dampening the field's political potential. It also reflects on how cultural studies' alienation from the conditions of its production has resulted in the field's growing involvement with interests that are at odds with its political proclivities.

Keywords: Cultural Studies; Journal Publishing; Copyright; Open Access; Scholarly Communication
I'm fortunate to have already had the published essay reviewed by Ben Myers and Desiree Rowe, who podcast over at The Critical Lede. You can listen to their thoughtful commentary on "Acknowledged Goods" by clicking here -- and be sure to check out their other podcasts while you're at it!

Since I'm on the topic of the politics of academic knowledge, I'd be remiss not to mention Siva Vaidhyanathan's amazing piece from the 2009 NEA Almanac of Higher Education, which recently came to my attention courtesy of Michael Zimmer. It's called "The Googlization of Universities." I found Siva's s discussion of bibliometrics -- the measurement of bibliographic citations and journal impact -- to be particularly intriguing. I wasn't aware that Google's PageRank system essentially took its cue from that particular corner of the mathematical universe. The piece also got me thinking more about the idea of "algorithmic culture," which I've blogged about here from time to time and that I hope to expand upon in an essay.

Please shoot me an email if you'd like a copy of "Acknowledged Goods." Of course, I'd be welcome any feedback you may have about the piece, either here or elsewhere.

Wednesday, March 24, 2010

Cultural Studies Review goes open access

D&R readers in North America may not be familiar with Cultural Studies Review (neé The UTS Review [1995-2002]), but it's one of the most innovative cultural studies journals around. Now it gets even better: CSR has gone open-access, with all of the journal's content freely available online. Definitely check out the current issue and, while you're at it, why not troll through the archive?


Cultural Studies Review 16.1 (March 2010)
Special Issue: Rural Cultural Studies: Research, Practice, Ethics

edited by John Frow and Katrina Schlunke
co-edited with with Clifton Evers, Andrew Gorman-Murray and Emily Potter

SPECIAL ISSUE CONTENTS:
  • John Frow and Katrina Schlunke, Editorial, "Rural Cultural Studies"
  • Clifton Evers, Andrew Gorman-Murray and Emily Potter, ‘Introduction: Doing Rural Cultural Studies’
  • Lisa Slater, ‘Who Do I Serve?’
  • Emily Potter, ‘The Ethics of Rural Place-Making: Public Space, Poetics, and the Ontologies of Design’
  • Rob Garbutt, ‘The Clearing: Heidegger’s Lichtung and The Big Scrub’
  • Michelle Duffy, ‘Sound Ecologies’
  • Andrew Gorman-Murray, ‘An Australian Feeling for Snow: Towards Understanding Cultural and Emotional Dimensions of Climate Change’
  • Deb Anderson, ‘Drought, Endurance and Climate Change “Pioneers”: Lived Experience in the Production of Rural Environmental Knowledge’
  • Michelle Dicinoski, Poems: 'Weights' and 'Measures'
  • Kim Satchell, ‘Auto-choreography: Animating Sentient Archives’
  • Tanya J. King, ‘Damming the Flow: Cultural Barriers to Perceived Procedural Justice‚ in Wonthaggi, Victoria’
  • Rae Dufty, ‘Reflecting on Power Relationships in the 'Doing' of Rural Cultural Research’
  • Lisa Slater, ‘“Calling our Spirits Home”: Indigenous Cultural Festivals and the Making of a Good Life’
  • Melissa Gregg, ‘Available in Selected Metros Only: Rural Melancholy and the Promise of Online Connectivity’
  • Ross Gibson, ‘Intimacy’
POETRY:
  • Ouyang Yu, Four Poems: ‘Bad Blurbs’, ‘2009’, ‘“Australia”’‚ and ‘World Atlas: A Random Fragmentary Selection’
  • Pam Brown, ‘Windows Wound Down’
ARTICLES:
  • Ann Game and Andrew Metcalfe, ‘Presence of the Gift’
  • Katelyn Barney, ‘Gendering Aboriginalism: A Performative Gaze on Indigenous Australian Women’
  • Sarah Gillman, ‘Heroes, Mates and Family: How Tragedy Teaches Us About Being Australian’
REVIEWS:
  • Margaret Henderson on Angela McRobbie, The Aftermath of Feminism: Gender, Culture and Social Change
  • Adrian Martin on Stuart Cunningham, In the Vernacular: A Generation of Culture and Controversy
  • Deane Williams on Ross Gibson, The Summer Exercises
  • Dimitris Vardoulakis on Nick Mansfield, Theorizing War: From Hobbes to Badiou
  • Sarah Cefai on Samantha Holland (ed.), Remote Relationships in a Small World
ABOUT THE JOURNAL:
Cultural Studies Review
is a peer-refereed open-access e-journal published twice a year (in March and September) by UTSePress. This is the journal's first issue as a purely on-line publication. You can view the journal here: http://epress.lib.uts.edu.au/journals/index.php/csrj. Access is free, but you do need to register. Once you have done this, you can read the current issues, receive publication alerts for all future issues, submit articles for consideration on-line and, if you are willing, record your research interests for our referee database.

Register now, and keep up to date with the latest high-quality research and innovative writing in the realm of cultural studies. Queries: csreview@unimelb.edu.au

Tuesday, March 23, 2010

Beyond computing -- CFP from Culture Machine

CALL FOR PAPERS
THE DIGITAL HUMANITIES: BEYOND COMPUTING

Special issue of Culture Machine, vol. 12; http://www.culturemachine.net
edited by Federica Frabetti (Oxford Brookes University)

The emerging field of the Digital Humanities can broadly be understood as embracing all those scholarly activities in the humanities that involve writing about digital media and technology as well as being engaged in processes of digital media production and practice (e.g. developing new media theory, creating interactive electronic literature, building online databases and wikis). Perhaps most notably, in what some are describing as a ‘computational turn’, it has seen techniques and methodologies drawn from Computer Science – image processing, data visualisation, network analysis – being used increasingly to produce new ways of understanding and approaching humanities texts.

Yet just as interesting as what Computer Science has to offer the humanities, surely, is the question of what the humanities have to offer Computer Science; and, beyond that, what the humanities themselves can bring to the understanding of the digital. Do the humanities really need to draw so heavily on Computer Science to develop their sense of what the Digital Humanities might be? Already in 1990 Mark Poster was arguing that ‘the relation to the computer remains one of misrecognition’ in the field of Computer Science, with the computer occupying ‘the position of the imaginary’ and being ‘inscribed with transcendent status’. If so, this has significant implications for any so-called ‘computational turn’ in the humanities. For on this basis Computer Science does not seem all that well-equipped to understand even itself and its own founding object, concepts and concerns, let alone help with those of the humanities.

In this special issue of Culture Machine we are therefore interested in investigating something that may initially appear to be a paradox: to what extent is it possible to envisage Digital Humanities that go beyond the disciplinary objects, affiliations, assumptions and methodological practices of computing and Computer Science?

At the same time the humanities are not without blind-spots and elements of misrecognition of their own. Take the idea of the human. For all the radical interrogation of this concept over the last 100 years or so, not least in relation to technology, doesn’t the mode of research production in the humanities remain very much tied to that of the individualized, human author? (Isn’t this evident in different ways even in the work of such technology-conscious anti-humanist thinkers as Deleuze, Guattari, Kittler, Latour, Negri, Ranciere and Stiegler?)

So what are the implications and possibilities of ‘the digital beyond computing’ for the humanities and for some of the humanities’ own central or founding concepts, too? The human, and with it the human-ities; but also the subject, the author, the scholar, writing, the text, the book, the discipline, the university...

What would THAT kind of (reconfigured) Digital Humanities look like?

We welcome papers that address the above questions and that suggest a new, somewhat different take on the relationship between the humanities and the digital.

Deadline for submissions: 1 October 2010

Please submit your contributions by email to Federica Frabetti: kikka66it@yahoo.it

All contributions will be peer-reviewed.

****************************************************
Established in 1999, CULTURE MACHINE (http://www.culturemachine.net) is a fully refereed, open-access journal of cultural studies and cultural theory. It has published work by established figures such as Mark Amerika, Alain Badiou, Simon Critchley, Jacques Derrida, Henry Giroux, Mark Hansen, N. Katherine Hayles, Ernesto Laclau, J. Hillis Miller, Bernard Stiegler, Cathryn Vasseleu and Samuel Weber, but it is also open to publications by up-and-coming writers, from a variety of geopolitical locations.
****************************************************

Monday, February 15, 2010

Harry Potter and the Simulacrum

I've been meaning to blog about this for a couple months now. An article of mine, which may be of interest to readers of my book, The Late Age of Print, was published in the October 2009 issue of the journal, Critical Studies in Media Communication (CSMC). Here's the citation, abstract, and keywords:
Ted Striphas, "Harry Potter and the Simulacrum: Contested Copies in an Age of Intellectual Property," Critical Studies in Media Communication 26(4) (October 2009): 1-17.

This essay begins by investigating how and on what basis the boundary between originals and copies gets drawn within the framework of intellectual property law. It does so by exploring Harry Potter-related doubles that were featured in the 2000 trademark and copyright infringement case, Scholastic, Inc., J. K. Rowling, and Time Warner Entertainment Company, L.P. v. Nancy Stouffer. The paper then moves on to consider how, within the context of the case, the boundary line dividing “originals” from “copies” grows increasingly indeterminate, so much so that it becomes untenable to speak of either category at all. It thus investigates what happens when the figure of the simulacrum, which troubles bright-line distinctions between originals and copies, enters into the legal realm. Theoretically, the simulacrum would seem to pose a challenge to intellectual property law's jurisprudential foundations, given how it blurs what should count as an “original” or a “derivative” work. This paper shows that while this may be true in principle, powerful multimedia companies like Scholastic, Time Warner, and others can strategically deploy simulacra to shore up their intellectual property rights.

Keywords: Harry Potter; Intellectual Property; Copyright; Trademark; Simulacrum
There's a good deal of thematic overlap between the article and Chapter 5 of The Late Age of Print, which also focuses on Harry Potter and intellectual property rights. They differ, though, in that the journal essay is more theoretically focused than the book chapter; the latter, I suppose, is more historical and sociological.

The strange thing about "Harry Potter and the Simulacrum" is that even though it's quite theoretical, it's also quite -- I'm not sure what exactly -- playful? comical? whimsical? In any case, it's probably the most fun piece that I've ever written and published. I attribute that largely to the bizarre court case at the center of the essay, which I swear must have been plucked from the pages of a Lewis Carroll story.

In a perfect world I'd link to a PDF of the article, but the journal publisher, Taylor & Francis, prohibits it. In an almost perfect world I'd link you to a post-print (i.e., the final word processing version that I submitted to CSMC), but even that I'm contractually barred from doing for 18 months from the time of publication.

Taylor & Francis charges $30 for the essay on its website, which to my mind is just ridiculous. Heck, a yearly personal subscription to the journal costs $81! So, if you're university-affiliated and want to take a look at the piece, I'd encourage you to check with your own institution's library. If you're not, I'm allowed to share a limited number of offprints with colleagues, and you can email me for one.

To complicate matters even more, the printed version of "Harry Potter and the Simulacrum" has the wrong copyright declaration. I signed Taylor & Francis' double-secret "license to publish" form instead of the usual copyright transfer. Despite that, the piece still says © National Communication Association, which is the scholarly society under whose auspices CSMC is published. Sigh.

Suddenly this is starting to sound like a Lewis Carroll story....

Sunday, January 31, 2010

New issue of Collapse now available

The latest installment of one of the coolest, most cutting-edge theory journals out there....

Collapse VI: Geo/Philosophy is now available.

Advance orders and subscription copies are being shipped immediately.

Please visit www.urbanomic.com to purchase. A PDF preview of the editorial introduction to the volume is also available on the website.


Contributors to the volume include: Charles Avery, Angela Detanico and Rafael Lain, Stephen Emmott, Owen Hatherley, F I E L D C L U B, Iain Hamilton Grant, Renée Green, Gilles Grelet, Manabrata Guha, Nicola Masciandaro, Timothy Morton, Greg McInerny, Robin Mackay, Reza Negarestani, Drew Purves, F.W.J. Schelling, Eyal Weizman, Rich Williams.

Following Collapse V's inquiry into the legacy of Copernicus' deposing of Earth from its central position in the cosmos, Collapse VI: Geo/philosophy poses the question: How should we understand the historical and contemporary bond between philosophical thought and its terrestrial support?

Collapse VI: Geo/philosophy begins with the provisional premise that the Earth does not square elements of thought but rather rounds them up into a continuous spatial and geographical horizon. Geophilosophy is thus not necessarily the philosophy of the earth as a round object of thought but rather the philosophy of all that can be rounded as an (or the) earth. But in that case, what is the connection between the empirical earth, the contingent material support of human thinking, and the abstract 'world' that is the condition for a 'whole' of thought?

Urgent contemporary concerns introduce new dimensions to this problem: The complicity of Capitalism and Science concomitant with the nomadic remobilization of global Capital has caused mutations in the field of the territorial, shifting and scrambling the determinations that subtended modern conceptions of the nation-state and territorial formations. And scientific predictions present us with the possibility of a planet contemplating itself without humans, or of an abyssal cosmos that abides without Earth - these are the vectors of relative and absolute deterritorialization which nourish the twenty-first century apocalyptic imagination. Obviously, no geophilosophy can remain oblivious to the unilateral nature of such un-earthing processes. Furthermore, the rise of so-called rogue states which sabotage their own territorial formation in order to militantly withstand the proliferation of global capitalism calls for an extensive renegotiation of geophilosophical concepts in regard to territorializing forces and the State. Can traditions of geophilosophical thought provide an analysis that escapes the often flawed, sentimental or cryptoreligious fashions in which popular discourse casts these catastrophic developments?

Continuing to combine and connect work from different disciplines and perspectives in innovative ways, this new volume of Collapse brings together philosophers, theorists, eco-critics, leading scientific experts in climate change, and artists whose work interrogates the link between philosophical thought, geography and cartography. This multiplicity of engagements makes Collapse VI a philosophically-rich yet accessible examination of the present state of 'planetary thought'.

Contents of Volume VI are as follows:

- In 'Becoming Spice: Commentary as Geophilosophy', Nicola Masciandaro (CUNY, Glossator.org) argues that philosophy belongs not to the ‘folly’ of a vertically-oriented ‘straight path’ but to a ‘circular and endless’ movement on the surface of the earth. The practice of commentary provides the key to understanding this endless movement, as the continual production of knowledge, a practice which ‘proceeds by staying’. Masciandaro sees this role of commentary as being encoded in spice, as a global commodity whose currency and commercial movement figures the production of understanding through continual differentiation and distribution.

- One significant modern attempt to create a philosophy that encompasses the Earth system is F. W. J. Schelling’s naturephilosophy. In Schelling’s 1798 work On the World Soul, previously unavailable in translation, the philosopher revendicates the ancient theory of the ‘World-Soul’, entirely reconstructing it through the most contemporary science of his time, which he supplements with the necessary speculative basis that will allow him to effect this grand synthesis. As Iain Hamilton Grant tells us in his introduction to extracts from his new translation, Schelling’s book must be understood as a bold experiment in systematically thinking ‘the All’.

- Reflections on the contemporary problems of thinking the ecology of the planet follow, in extended interviews with research scientists working on computational models of climate change at Microsoft's Computational Science lab in Cambridge, England. Stephen Emmott, Greg McInerny, Drew Purves and Rich Williams discuss their work devising new predictive computational models which reflect the interconnectivity and complexity of the biosphere, and present us with the perspective of ecology as a science reborn and negotiating its foundations and principles in response to the urgency of environmental crisis.

- In 'Thinking Ecology: The Mesh, the Strange Stranger and the Beautiful Soul' Timothy Morton (Professor of Literature and the Environment at the University of California, Davis, and author of Ecology Without Nature) presents a challenge to the pious sentimentalisation of 'nature' in ecological discourse, challenging 'environmentalists' to leave behind the 'beautiful soul' and think themselves as enmeshed in a 'dark ecology'.

- A contribution from UK artist collective F I E L D C L U B extends Morton's critique of the ideology of environmentalism, and examines the technical mediation of man's relation to the biosphere, asking: 'How Many Slugs Maketh the Man?'

- In 'Fossils of Time Future', Owen Hatherley continues his project to rescue architectural modernism from the ‘Ikea modernism’ of ‘light and airy’ interior design belonging to the vacuous economic optimism of the late twentieth-century. He contends that, in restoring the links of modernism with its less palatable predecessors – such as the proto-brutalism of Hitler’s Atlantic Wall – we can reawaken a suppressed, but rich and provocative, historical lineage where architecture confronts the 'chthonic'.

- In an extended interview with architect and theorist Eyal Weizman, 'Political Plastic', we discuss the way in which he sees architecture per se as interacting with the ‘political architecture’ of the Israeli occupation of Palestine, and how the structure of the latter has been involved in a conceptual commerce with theory. Discussing in depth his conception of ‘forensic architecture’, Weizman speaks about the way in which this materialist-pluralist conception of politics demands a rethinking of the notions of responsibility, ideology, and resistance, and how his project Decolonising Architecture’s processes of ‘design by destruction’ and ‘ungrounding’ seek to disrupt the very temporalities according to which the very question of a ‘solution’ to the problem of occupation has been posed.

- Graphic work by artists Angela Detanico and Rafael Lain examines the many ways in which the planet is coded; their playful constructions explore the peculiar grammatologies that emerge once this stenography between the geographical and the symbolic is in place.

- Manabrata Guha (Assistant Professor at the National Institute of Advanced Studies (NIAS), Bangalore, India) presents an ‘Introduction to SIMADology’ in which he addresses the ‘global security ecology’ and suggests that its regime of thinking the relation of war to the earth – inherited, as he suggests, from the ‘father’ of the theory of warfare, Clausewitz – fails to register the radical difference which terror-operations inpose on the martial landscape. What Guha calls the SIMAD – Singularly Intensive Mobile Agencity of Decay – disrupts the Clausewitzian paradigm, drawing war-machines into a ‘chthonic battlespace’ which they are constitutively incapable of navigating.

- Reza Negarestani’s contribution undertakes an analytic examination of an ‘architecture and politics of decay’. Excavating some of the more bizarre preoccupations of mediaeval thought, and tracing their influence on early-modern mathematics, Negarestani suggests that they offer us the formal basis for an ‘architecture, mathesis and politics of decay’.

- Artist Charles Avery presents a new 'epilogue' and images of work from his project 'The Islanders', prefaced by Robin Mackay's essay which discusses the history of 'Philosophers' Islands' and the relation of Avery's work to this philosophical-literary tradition.

- Philosopher Gilles Grelet presents an implacable manifesto refusing philosophy's role of carving up and dividing the earth; presenting 'boat-theory' as 'a full-on attack on the world’, an angelic thought whose ‘crossings’ operate without the imperatives of the ‘worldly’.

- Artist Renée Green's film work 'Endless Dreams and Water Between', presented as part of an installation at Greenwich Maritime Museum in 2009, and presented in transcript form in Collapse VI, tells the story of four women driven by a curiosity about the island as a ‘non-location’. In contemplating their island locations, Green’s protagonists move towards a collective thinking which expands into the realms of the abstract only on the basis of their localisation and the contingency of their respective interests and life-circumstances.

Tuesday, September 29, 2009

CFP -- Canadian Journal of Media Studies

CANADIAN JOURNAL OF MEDIA STUDIES

CALL FOR PAPERS

2009 marks the 30th anniversary of the publication of Jean-François Lyotard’s The Postmodern Condition: A Report on Knowledge. “[I}t is common knowledge,” he wrote, “that the miniaturization and commercialization of machines is already changing the way learning is acquired, classified, made available, and exploited” (1984, org. 1979: 4). In 2010, "Connected Understanding" will be the theme of the Congress of Social Sciences and Humanities in Montreal (http://www.fedcan.virtuo.ca/congress2010/). The Canadian Journal of Media Studies announces a special issue on Media, Knowledge and the Network University edited by Bob Hanke, York University, and David Spencer, University of Western Ontario.

The massification and informationalization of the university has transformed not only the content of teaching and research but also disciplinary processes of knowledge production and the technological form of academic life and culture. The integration and normalization of ICT's raises many questions about the university, academic labour, scholarly communication and collaboration, and academic technoculture. In 1957, Marshall McLuhan invited us to reconsider the education process by announcing that, with the advent of television, the “classroom without walls” had arrived. A half a century later, we are working in the university without walls and the ICT “revolution” is over. In “Universities, wet, hard, and harder,” German media theorist Friedrich Kittler reviewed 800 years of university-based media history to observe that “universities have finally succeeded in forming once again a complete media system.” Yet media scholars have rarely chosen to study their own universities as media systems. This special issue of the CJMS is an invitation to reflexive, critical media studies. Established and emerging scholars are invited to address continuities and transformations in new media and the network university and to set the agenda for future study and debate.

Possible questions and areas of research and critical inquiry include:

  • What is unthought, unrepresented and unquestioned in discussions of the public university and the ‘neoliberal turn,’ technologically-mediated post-secondary education, and institutional initiatives in the virtualization of the educational process?
  • What is the impact of the cybernation of the university? What is happening in information technology (IT) infrastructure, planning and governance? What IT strategies are pursued by specific institutions in different jurisdictions? What is the role of IT professionals as intermediaries between IT industries, intermediating organizations, private-sector partners and the university? What is the faculty experience of ICTs, and IT “solutions,” services, and support?
  • What are the networks of possibility and affordances of technology, and what are the obstacles and limits? the unintended, unanticipated consequences?
  • What hybrid methodologies, research techniques and software enhance our capacity to map the wireless campus and network condition of the university?
  • What philosophers of technology and politics are relevant to sharpening our thinking on the question of technology? What scholarly perspectives on invention, innovation and the process of emergence enable us to break the habit of instrumentalist thinking and discard the “tool” metaphor? How can we take technical artifacts, from small, portable technology to entire campus networks, out of their “black boxes” in order to study them? How does the technical substrate matter to our thinking? Our reading and writing of “texts”? Our notions of “research”? How is the university embedded in the network society and cognitive capitalism? What are the drivers of IT change in universities? What are the consequences of the disjuncture between the digital culture and practices outside the university and IT (planning, procurement/evaluation/implementation, support and services) inside universities?
  • How can we move beyond user-centric approaches to Web 2.0 based software applications and learning management systems, peer-to-peer networks, and small tech in academic settings? In the new network culture, how can we grasp the relations between what is “given” and what is unlikely, surprising, unexpected and unrealized?
  • How can we move beyond debates over “student centered” learning and faculty deskilling to new models of reskilling and organized research networks, technological literacy and technologies of the common? How can we articulate scholarly “collaboration” and student “engagement” with a politics of knowledge (commodified knowledge, open scholarship and knowledge within the social sciences and humanities, popular knowledge, indigenous knowledge, etc.) that will strengthen the public mission of the university after the recession? How can we turn away from the “knowledge economy” and towards knowledge cultures? What does the prototype of the Canadian Institute for Health Research’s Knowledge Broker Model portend for the social sciences and humanities?

We also invite investigations of:
  • computerization, campus networking strategies, and ICT-related organizational change since the advent of distributed computing, the Internet and the WWW
  • space, time, speed and rhythm in the network university
  • the production and operativity of networks and archives, scholarly journals and portals, web-based learning environments and objects, research cyberinfrastructure, critical cyberpedagogy, technological literacy, copyright/left, intellectual property rights
  • open access movement, open access research, open educational resources, open courseware, institutional repositories, ‘Do it Yourself’ education or edupunk
  • tropes of factory, ecology, network, mobility, common
  • articulations and destabilizations of oral/written, actual/virtual, bureaucratic records/institutional memory, off-line/on line, knowledge creation/information sharing, formal learning on campus/informal learning off campus, amateur/professional, artist/researcher
  • ideology of convenience, ethos of performativity, immaterial academic labour, general intellect, circuits of knowledge and struggle
  • technological “progress,”“knowledge economy,” knowledge “transfer” or “mobilization,” creativity, innovation, academic freedom, academic capitalism
  • the coming network university, knowledge futures, ecoethical perspectives on the university’s inputs and outputs and the discourse of “sustainability”
Since intellectual innovation may be engendered at the intersections of disciplines, contributions are welcome from outside of Communication and traditions and trajectories of media studies outside of Canada. Solo or collaborative work that provides a comparative, international perspective on the network university in different countries is especially welcome.

Submission Guidelines

Authors should submit papers of about 25 pages (or 8000 words) in MLA style with abstract and keywords electronically to David Spencer, Editor, dspencer@uwo.ca. With the exception of the title page, please remove all indications of authorship.

The deadline for papers is February 28, 2010. Peer review and notification of acceptance will be completed by March 31, 2010. Final manuscripts accepted for publication will be due April 30, 2010.

Comments and queries can be sent to Bob Hanke, Guest Co-Editor, bhanke@yorku.ca.
For more information about the Canadian Journal of Media Studies, visit http://cjms.fims.uwo.ca/default.htm.

Thursday, January 22, 2009

New issue of Culture Machine and...

Before getting down to business with the TOC for the latest issue of Culture Machine, I thought I'd put in a plug for Gary Hall's latest effort. It's called Digitize This Book! The Politics of New Media, or Why We Need Open Access Now (U of MN Press, 2008). The text is something of a manifesto for why Gary does what he does as editor of Culture Machine. It's also so much more. I'd recommend the book highly to anyone navigating their way through the academy and its atavistic publishing apparatus.


We are pleased to announce a new edition of the open-access journal
Culture Machine:

CULTURE MACHINE 10 (2009)
http://www.culturemachine.net

PIRATE PHILOSOPHY
Tenth Anniversary Issue, edited by Gary Hall

This tenth anniversary issue of Culture Machine explores how the development of various forms of digital culture and ‘internet piracy’ is affecting notions of authorship, intellectual property, copyright law, publication, attribution, citation, accreditation, fair use, content creation and cultural production that were established pre-internet. Contributors address the theme of piracy in the content and/or by playing provocatively with the form of their texts.


The ‘Pirate Philosophy’ issue features:
  • Gary Hall, ‘Pirate Philosophy (Version 1.0): Open Access, Free Content, Free/Libre/Open Media’
  • Adrian Johns, ‘Piracy as a Business Force’
  • Jonas Andersson, ‘For the Good of the Net: The Pirate Bay as a Strategic Sovereign’
  • Don Joyce, Negativland, ‘Vapor Music’
  • Kembrew McLeod, ‘Crashing the Spectacle: A Forgotten History of Digital Sampling, Infringement, Copyright Liberation and the End of Recorded Music’
  • Alexander R. Galloway, ‘Debord’s Nostalgic Algorithm’
  • Mark Amerika, ‘Source Material Everywhere: The Alfred North Whitehead Remix’
  • Gary Hall, Clare Birchall and Pete Woodbridge, ‘Liquid Theory TV’
  • Gary Hall and Clare Birchall, ‘New Cultural Studies: The Liquid Theory Reader’

ABOUT CULTURE MACHINE

The Culture Machine journal publishes new work from both established figures and up-and-coming writers. It is fully refereed, and has an International Advisory Board which includes Geoffrey Bennington, Robert Bernasconi, Sue Golding, Lawrence Grossberg, Peggy Kamuf, Alphonso Lingis, Meaghan Morris, Paul Patton, Mark Poster, Avital Ronell, Nicholas Royle and Kenneth Surin.

Culture Machine welcomes original, unpublished submissions on any aspect of culture and theory. All contributions to Culture Machine are refereed anonymously. Anyone with material they wish to submit for publication is invited to contact:

Culture Machine c/o Dave Boothroyd and Gary Hall
e-mail: gary.hall@coventry.ac.uk and d.boothroyd@kent.ac.uk

Culture Machine is part of Open Humanities Press: http://www.openhumanitiespress.org

For more information, visit the Culture Machine site at: http://www.culturemachine.net

Friday, November 07, 2008

Transversal on translation

You may not know this, but one of my ongoing side projects revolves around the idea and practice of translation. I've written about it in a short chapter in the volume I co-edited called Communication as...: Perspectives on Theory. (Surprise, surprise--my contribution is called, "Communication as Translation.") I've also presented some other work on the subject here and there at various conferences.


Anyway, I was pleased to receive an email announcement this morning alerting me to the latest issue of the journal Transversal (pictured above), whose theme is, "Talks on Translation." Definitely check it out.

Like Traces (Hong Kong University Press), which is easily one of the most thought-provoking book series in cultural studies today, Transversal publishes all of its articles in multiple languages simultaneously. The result is a remarkably multilingual and heterodox forum for intellectual exchange about culture, politics, and the politics of culture.

In contrast to most books and journals in cultural studies and beyond, these publications don't merely pay lip service to principles of difference, decentering, and globalization. Instead, they embody them. They do so by compelling authors, editors, and readers to engage a diverse global intellectual community, with all the difficulties and opportunities that entails.

Remarkable stuff.

Sunday, November 02, 2008

"Acknowledged Goods" now live

Last May I posted a short snippet of a paper I was working on to the Differences & Repetitions Wiki. It was called "Acknowledged Goods: Cultural Studies and the Politics of Academic Journal Publishing." The title summarizes the principal focus of the piece. Essentially I wanted to ask: why hasn't the field of cultural studies given its instruments of scholarly communication--journals especially--more critical scrutiny?

I was encouraged by the many comments and questions I received in response to the two pairs of paragraphs and tables that I had posted online. I kept plugging away at "Acknowledged Goods" into the summer and finished a draft sometime in late June. I've been meaning to post the completed piece to D&RW, but unfortunately other responsibilities have gotten in the way.

Until now, that is. I've finally managed to get "Acknowledged Goods" properly formatted for the wiki, so at long last you can read the whole essay by clicking here. Since this is a longer and much more nuanced version of the work I posted back in May, I'm still very interested in hearing your feedback. Indeed, "Acknowledged Goods" remains a work in progress, so your comments, questions, and concerns will only help as I keep tweaking the piece.

I hope that you enjoy "Acknowledged Goods" and, more important, that it spurs you to action. Academic journal publishing is at a critical crossroads right now, and cultural studies ought to weigh in on its present and future directions.

Sunday, July 20, 2008

Ownership rights

A couple of weeks ago I blogged about Gerard Jones' wonderful book called Men of Tomorrow, which is a history of comic books' "golden age." Don't worry--I'm not going to re-review it. The book did get me thinking about another type of publishing, though--academic journal publishing--and the issue of ownership rights to one's work. That's what I want to reflect on here.

As Jones shows, the comic book industry's "golden age" (roughly 1938-1960) really wasn't all that golden, especially when you look at things from the standpoint of labor. Writers and artists were largely considered to be hacks by comic book publishers, and with rare exceptions, most were paid a pittance. There were a few star writers and artists, of course--people like Superman creators Jerry Siegel and Joe Shuster, and Batman creator Bob Kane. But stars or not, comic book writers and artists were almost universally compelled to sign away the rights to their words, illustrations, and characters to the publishers who employed them. (Kane was an exception, but only because of a legal loophole.) That was a basic condition of their employment and of the system writ large. Most sufferred terribly a a result. What's all the more shameful is that comic book publishers often claimed to be making little or no money off of the writers' and artists' work when, in fact, they were profiting handsomely from it.

There seem to me some rough parallels between the "golden age" of comic books and contempory academic journal publishing. Most significant here is the issue of ownership rights to one's work. Nearly all journal publishing contracts stipulate that authors must transfer copyright and other entitlements to the publishers of our articles. We retain some rights, of course, including (thankfully) the right to be identified as the author of the work. We're also typically allowed to re-use material from our published articles in whatever books we may write, although generally our doing so requires asking for the journal publishers' permission. But otherwise, like the writers and artists of comic books' golden age, publication of our journal articles is contingent on publishers stripping us of most of the rights to our creative work.

Now, the old saw usually goes something like this: academic publishing is the pecuniary backwater of the publishing industry. Consequently, scholars must grant journal publishers exclusive rights to publish, license, and otherwise commercially exploit our work. Otherwise, the latter would be unable to cover production costs, must less hope to turn a profit.

This may be true where the journals in question are published by not-for-profit university presses. It's not the case, however, for large, for-profit journal publishers. Consider this: Taylor & Franics/Informa's revenue topped £1.1 billion GBP in 2007, an increase of 9% over the preceding year. John Wiley & Sons 2007 merger with Blackwell was a US$1 billion deal. The proposed merger of journal giants Reed Elsevier and Wolters Kluwer (now Cinven), in 1997/19998, would have been a US$9 billion deal had it gone through. These companies and others like them are hardly straped for cash.

So what might we do to improve the situation for academic authors? We might take a cue from the comic book industry. In the 1990s, star writers and illustrators such as Todd McFarlane stopped working for Marvel and DC, the industry majors, and began their own lines. Significantly, they allowed those in their emply to retain rights to the words, pictures, and characters they created. This totally transformed the industry. The new companies almost immediately siphoned off the best talent from Marvel and DC, who were then forced to offer similar deals to writers and artists in order to remain competitive.

I wonder: is something similar possible in academic journal publishing? Is there a way to allow authors to retain most rights to our published work, and perhaps even to profit directly from it? If we could create a journal like that--a successful one--might it not compel the large journal publishers to follow? These are questions I'll consider in a future blog post.

Thursday, July 17, 2008

CFP/SCMS: Online Publishing

This Call for Papers landed yesterday in my email in-box, and I figured some D&R readers might be interested. The proposed session will explore the future of scholarly communication--a very timely topic indeed. Enjoy, and please contribute if you're able to get yourself to Tokyo.

Society for Cinema and Media Studies Annual Conference
Tokyo, Japan
May 21-24, 2009

Call for Papers for a Proposed Workshop: Online Publishing

Publishing in the cinema and media studies community has grown considerably in the past few years. In addition to the traditional print format, online journals and blogs have become a viable resource for educators and students in our field. This workshop will examine the state of publishing in cinema and media studies by looking back at what has already been accomplished in print, and looking forward towards the promising (and potentially not so promising) directions that online publication might take. We will consider the differences between print and online forums of scholarly discourse, as well as evaluate the role that online publications fulfill for both the exploration of subjects and also for professional advancement. Topics for discussion will include (though need not be limited to): the production of online journals; the past, present, and future of print publication; the scholarly opportunities and limitations of blogs; and the legitimacy of print and online publications as resources for scholars and students alike.

Questions for consideration include:
  • What are the challenges and opportunities of online publishing?
  • Is there a future for print publication?
  • What is the relationship between print and online publication?
  • Are blog posts viable resources for academic research and writing?
  • What role does professional accountability/peer review play in the self-publishing/blog paradigm?
  • Are there networks or communities of academic cinema and media studies publications or bloggers?
  • What role should interactive or dynamic content play in online academic discourse?
  • Is there resistance to open-access models of online academic publishing?
  • How does (or should) academic writing change across media platforms (print, online, blog)?
We would like to bring together professionals with direct experience producing print and/or online publications, academics who have extensive experience publishing in print and/or online publications, as well as graduate students currently working on the staff of online and/or print publications to discuss the past, present, and future of academic publication in cinema and media studies.

If you are interested in participating, please contact: John Bridge (jabridge@gmail.com) and Jen Porst (jenporst@mac.com).

Sunday, June 29, 2008

Another snippet on journal publishing

Well, at long last, I've finished my essay, "Acknowledged Goods: Cultural Studies and the Politics of Academic Journal Publishing." I'll be posting a full draft of the piece to the "Acknowledged Goods" page on the Differences & Repetitions Wiki. The wiki formatting will take some time, however, and for now, I have to direct my energies toward revising an essay on Harry Potter and the simulacrum. Once the full version of "Acknowledged Goods" is up on D&R-W, you'll be sure to hear about it. For now, comments, ratings, and other feedback on this excerpt are welcome here.


[From the Section on Alienation]

...Most of us probably have done it at one time or another. By “it” I mean signing a publication agreement for a recently accepted journal article without reading the document carefully, or without pausing to consider the meaning and consequences of all the warrants, indemnities, and clauses ending with those ominous sounding words, “in perpetuity and in any form.” Like me, you probably resigned yourself to committing to the agreement, since the publisher told you, perhaps through a low-level editorial contact at the journal, that publication of your piece was contingent on your doing so without delay. Signing on the dotted line is “policy” she or he probably told you, politely but firmly, and if you do not do so promptly, you are liable to hold up production on the issue in which your work is scheduled to appear. Worse, if you hold out for too long, you risk having your essay dropped altogether. And so begrudgingly you sign, because keeping the process moving along would seem to outweigh whatever benefits might come from making an issue of it.

To me, this is among the most profound—and profoundly alienating—moments of academic labor. I mean this in both the Marxian sense of “alienation,” in which participation in the system of objectified wage labor existentially impoverishes of one’s species-being, as well as in the more strictly legal sense of the term, as defined by Margaret Jane Radin: “a separation of something—an entitlement, right, or attribute—from its holder.” Beyond these definitions, the ritual signing of journal publication contracts is alienating in at least three specific ways.

First, the extreme sense of urgency that tends to surround the whole process is incommensurate with the time it takes for most academic articles to appear in print. In my experience, this interval can last anywhere from six to eighteen months from the day I sign a publication agreement; in rare cases it has been shorter, and I know of myriad instances in which it has taken even longer. The atmosphere of last-minute-ism may help keep the publication process running smoothly. On the downside, it can preempt academic authors from reflecting critically on the legal documents we are charged with signing, which can in turn lead to the hasty forfeiture of key rights and entitlements—assuming we are even aware of them.

Second, the process cultivates a habitus in which we are perpetually disposed “to take one for the team.” Practically no one wants to be the curmudgeon responsible for delaying an entire journal issue while trying to negotiate terms of publication. Publishers recognize this. Consciously or not, they leverage this goodwill by persuading authors to sign away our rights in the name of a collective interest (i.e., timely publication). They do so by capitalizing on an incentive structure in which, ironically, a desire to be perceived as “collegial” and “professional” compels academic authors to deprive one another of the chance to question journal publishers, attorneys, or others about the legal ramifications of publishing our work.

Finally, the contractual moment alienates us scholars from the products of our labor. It customarily involves the transfer of key rights (e.g., ownership, duplication, derivation, etc.) from author to publisher, in whole or in part, in exchange for a variety of value-added services (e.g., typesetting, copyediting, marketing, etc.) and indirect rewards (e.g., promotion, tenure, professional recognition, etc.). Those benefits notwithstanding, signing on the dotted line transforms our labor into economically valuable intellectual property and, down the line, capital—assets publishers use to compete with one another in the marketplace. Our signatures allow journal publishers to disavow liability in matters of copyright infringement, obscenity, and so forth, moreover, thereby endowing them with deep ownership rights over material for which they accept only shallow legal responsibilities. An added “bonus” is that academic authors typically must shoulder all of the costs related to reproducing copyrighted images, song lyrics, and related materials, even though it is the journal publisher who reaps any financial rewards. In these cases, we are not merely giving our labor away, essentially for free; we are effectively paying a third party for the “privilege” of doing so.

Journal publication contracts are magical documents indeed. They transfigure good knowledge into saleable knowledge goods, in a series of moves that implicate us in, while keeping us at arm’s length from, the noisy sphere of industrial production....

Monday, May 12, 2008

Journal publishing in cultural studies

Quite some time ago, I drafted a short conference paper called, "Acknowledged Goods: Cultural Studies and the Politics of Scholarly Journal Publishing." I've presented versions of it at the annual cultural studies conference we hold here at Indiana University and at the "Cultural Studies Now" conference in London (both in 2007). I'll be presenting still another, more refined version of the paper at "Crossroads in Cultural Studies" this July in Kingston, Jamaica.

Since I'm done revising my book, I'm able to return to "Acknowledged Goods" and to begin developing it in earnest. To that end, I've placed a snippet of the paper-in-progress on the Differences and Repetitions Wiki, which you can access by clicking here. I'd appreciate any comments you may have. You can leave feedback right on the site or email suggestions to me directly (striphas@indiana.edu).

Currently, there are only two paragraphs and a couple of tables, so the material shouldn't take you too long to read. The information about journal publishers and their subscription prices may surprise and even alarm you (or, maybe not, if you've been following the open access debates). I'll be adding more to the document in the coming weeks. Stay tuned.

Tuesday, May 06, 2008

More open access

Here's some more good news about open access publishing in the humanities, and it comes at a very interesting time for me. Now that my book, The Late Age of Print, is more or less finished, I'm about to return to the "Cultural Studies and Journal Publishing" essay I've been pecking at for some time now and presenting bits of at conferences.

It's remarkable just how far things have come in a year, especially in the humanities, which has lagged way, way behind the sciences, medicine, and technical fields in terms of making its journal publishing apparatus more open and less corporate. Still, I wonder: does OA journal publishing need to remain so resolutely hierarchical? That's a question I'll be pondering, probably in the conclusion to my essay. I'll be posting the piece to the Differences & Repetitions Wiki for feedback once it's a bit farther along.

Anyway, here's the OA announcement. Congratulations to all those involved on launching the Open Humanities Press initiative, and thank you for your vision.


LAUNCH OF OPEN HUMANITIES PRESS
– Open Access expands to humanities disciplines with a bold new publishing initiative in critical and cultural theory.

Brussels, Belgium – On May 12, 2008, the Open Humanities Press (OHP) will launch with 7 of the leading Open Access journals in critical and cultural theory. A non-profit, international grass-roots initiative, OHP marks a watershed in the growing embrace of Open Access in the humanities.

“OHP is a bold and timely venture” said J. Hillis Miller, Distinguished Professor of English at the University of California, Irvine, a long-time supporter of the Open Access movement and OHP board member. “It is designed to make peer-reviewed scholarly and critical works in a number of humanistic disciplines and cross-disciplines available free online. Initially primarily concerned with journals, OHP may ultimately also include book-length writings. This project is an admirable response to the current crisis in scholarly publishing and to the rapid shift from print media to electronic media. This shift, and OHP’s response to it, are facets of what has been called ‘critical climate change.’”

“The future of scholarly publishing lies in Open Access” agreed Jonathan Culler, Class of 1916 Professor of English and Comparative Literature at Cornell University and fellow member of OHP’s editorial advisory board. “Scholars in the future should give careful consideration to the where they publish, since their goal should be to make the products of their research as widely available as possible, to people throughout the world. Open Humanities Press is a most welcome initiative that will help us move in this direction.”

OHP will give new confidence to humanities academics who wish to make their work freely accessible but have concerns about the academic standards of online publishing. In addition to being peer-reviewed, all OHP journals undergo rigorous vetting by an editorial board of leading humanities scholars.

OHP’s board includes Alain Badiou, Chair of Philosophy at the École Normale Supérieure, Donna Haraway, Professor of the History of Consciousness and Feminist Studies, UC Santa Cruz, Ngugi wa Thiong’o, Director of the International Center for Writing and Translation, UC Irvine, Gayatri Spivak, Avalon Foundation Professor in the Humanities, Columbia University, Peter Suber, Open Access Project Director for Public Knowledge and Professor of Philosophy at Earlham College, and Stephen Greenblatt, Cogan University Professor of the Humanities, Harvard University, who has been leading the public debate on the crisis of academic publishing in the humanities.

“Open-access publishing in serious, peer-reviewed online scholarly journals is one of the keys to solving a financial crisis that has afflicted university libraries everywhere and has had a chilling effect on virtually every academic discipline” said Greenblatt.“Making scholarly work available without charge on the internet has offered hope for the natural sciences and now offers hope in the humanities.”

With initial offerings in continental philosophy, cultural studies, new media, film and literary criticism, OHP serves researchers and students as the Open Access gateway for editorially-vetted scholarly literature in the humanities. The first journals to become part of OHP are Cosmos and History, Culture Machine, Fibreculture, Film-Philosophy, International Journal of Zizek Studies, Parrhesia, and Vectors.

“But it’s not simply a matter of what Open Access can do for the humanities” added Gary Hall, Professor of Media and Performing Arts at Coventry University, co-editor of Culture Machine and one of the co-founders of OHP. “It is also a case of what can the humanities do for Open Access. Researchers, editors and publishers in the humanities have developed very different professional cultures and intellectual practices to the STMs [Science, Technology, and Medicine] who have dominated the discussion around Open Access to date. OHP is ideally positioned to explore some of the exciting new challenges and perspectives in scholarly communication that are being opened up for Open Access as it is increasingly adopted within the humanities.”

##

Open Humanities Press is an international Open Access publishing collective specializing in critical and cultural theory. OHP was formed by academics to overcome the current crisis in scholarly publishing that threatens intellectual freedom and academic rigor worldwide. OHP journals are academically certified by OHP’s independent board of international scholars. All OHP publications are peer-reviewed, published under open access licenses, and freely and immediately available online at www.openhumanitiespress.org.

Monday, May 05, 2008

Rockefeller UP goes CC

From today's Inside Higher Ed:
Rockefeller University Press on Friday announced a shift in copyright policy for the three journals it publishes. The new policy allows authors to re-use their work in any way under a Creative Commons license, so that authors who wish to effectively make their work open and free may do so. The press publishes The Journal of Cell Biology, The Journal of Experimental Medicine and The Journal of General Physiology.

It's only a news brief, but you can find it here. Way to go, RUP, and thanks for supporting open access to ideas! Let the trend continue!

Sunday, April 27, 2008

Peer-reviewer personae

Josh Gunn over at The Rosewater Chronicles has an excellent post about the various critical personae one might encounter in the process of double-blind academic peer-review. He classifies them (us?) as "gushers," "assassins," "turf pissers," and "empaths." My favorite characterization (although probably my least favorite type of reviewer) has to be the "naysayer," whom Josh describes like this:
The Naysayer: Nothing of quality or interest has ever been published in the field, and your essay is no exception. Communication Studies is a sub-par and parasite field, and your essay continues this horrible, alien existence. The Naysayer wanted to be a philosopher or studied comparative literature, but reluctantly took a position in Communication Studies out of necessity. S/he is bitter about being in Comm, and will take it out on you—especially if you take up concepts from high theory or philosophy.

I'm sure anyone who's been through the gauntlet of double-blind peer review has encountered at least one cranky naysayer in her or his lifetime, and probably one or more of the other characters as well. I only wish there were more gushers and empaths out there. Too often, I find, academic peer-review seems as much about hazing as it does about ideas and execution--and I say that as someone who's enjoyed reasonably good success at getting published.

Anyway, be sure to check out Josh's post and the lively discussion that follows. Great stuff.

Wednesday, April 23, 2008

Latest issue of Collapse

Collapse is one of the most intriguing scholarly journals available. It's independently published, which means, on the positive side, that it's not part of the corporate journal-industrial complex. I really admire that. On the flip side, though, independence has resulted in Collapse's flying somewhat under the radar of readers and scholarly groups for whom the journal is less well known than it should be.

Now in it's fourth issue, Collapse consistently has published cutting-edge theoretical work within and beyond the orbit of post-structuralist philosophy. I've blogged about Collapse before, when the editors published an issue featuring what's probably Gilles Deleuze's first known scholarly work. The original contributions from contemporary authors are consistently provocative as well.

If I had to find an analogue, I'd say, think Semiotext(e) from the 1970s, when the journal helped to introduce English-language readers to the likes of Deleuze, Guattari, Kristeva, Baudrillard, Irigaray, Negri, and many others. Or, better yet, just think. Because that's exactly what Collapse will always make you do.

FROM THE EDITORS OF COLLAPSE
We are delighted to announce that Collapse Volume IV will be published May 2008 and is now available for advance purchase online.

Contributors to this volume include: Kristen Alvanson, Jake and Dinos Chapman, Iain Hamilton Grant, Graham Harman, Michel Houellebecq, Oleg Kulik, Thomas Ligotti, Quentin Meillassoux, China Miéville, Reza Negarestani, Benjamin Noys, Rafani, Steven Shearer, George Sieg, Eugene Thacker, Keith Tilford, Todosch, James Trafford.

Collapse IV features a series of investigations by philosophers, writers and artists into Concept Horror. Contributors address the existential, aesthetic, theological and political dimensions of horror, interrogate its peculiar affinity with philosophical thought, and uncover the horrors that may lie in wait for those who pursue rational thought beyond the bounds of the reasonable. This unique volume continues Collapse’s pursuit of indisciplinary miscegenation, the wide-ranging contributions interacting to produce common themes and suggestive connections. In the process a rich and compelling case emerges for the intimate bond between horror and philosophical thought.

George Sieg's Infinite Regress into Self-Referential Horror demonstrates the simultaneously cognitive, existential and political nature of Horror, through a conceptual investigation of the primacy of victimhood for the affect of horror, tracing its origins to the Zoroastrian concept of Druj.

In The Shadow of a Puppet-Dance, James Trafford tracks weird fiction writer Thomas Ligotti's anticipation of the radical thesis of neurophilosopher Thomas Metzinger's book Being No-One: namely, that 'nobody ever was or had a self'.

In Thomas Ligotti's own contribution to the volume, Thinking Horror, he takes up the work of obscure Norwegian philosopher Peter Zapffe, among others, to take an unflinching journey into the depths of pessimistic thought. As a counterpoint to Ligotti's deflation of human hubris, Oleg Kulik, the internationally-acclaimed Ukrainian contemporary artist known for his disturbing investigations into the borders between life and death, human and animal, contributes his photographic series Memento Mori: Dead Monkeys.

Eugene Thacker's Nine Disputations on Theology and Horror gives a detailed and penetrating account of the 'teratological noosphere', discussing the way in which a certain horror has perenially accompanied the concept of 'life', from Aristotle to Lovecraft.

Novelist Michel Houellebecq is well-known for his evocation of the horror that dwells within the banalities of contemporary life. His poems, of which a selection are translated into English here for the first time, distil his powerful vision into translucid moments of dread.

Jake and Dinos Chapman, the notorious Brothers Grim of the British artworld contribute a set of drawings created exclusively for Collapse. The cartoon-horror of I Can See continues their investigations into the connection between laughter and horror through the programmatic impoverishment of the aesthetic.

In the third of a 'trilogy' of essays published in Collapse, Spectral Dilemma, Quentin Meillassoux reveals some of the ethical consequences of his deduction of the 'necessity of contingency', through an examination of the problem of 'infinite mourning' for the dead.

Kristen Alvanson's photographs, at once repellent and fascinating, of preserved specimens of deformed and mutated animals and humans, are accompanied by a text which discusses Paré's sixteenth-century treatise which makes of taxonomy itself something monstrous, as demonstrated in Alvanson's diagrammatic presentation of the Arbor Deformia.

German artist Todosch's meticulous sketches seem to depict varieties of heterogenous slime in the process either of disintegration or coagulation, making them a perfect companion to Iain Hamilton Grant's Being and Slime. This untimely excavation of the work of nineteenth century naturephilosopher Lorenz Oken - according to whom the generation of the universe from a 'primal zero' corresponds to its coagulation from a 'primaeval mucus' - puts an entirely new slant on Badiou's notion of 'founding on the void'.

Benjamin Noys meditates on Lovecraft and the real, revealing that the most abyssal of Horrors is Horror Temporis.

In Thinking with Nigredo, Reza Negarestani shows how Aristotle and Plotinus both unlock and dissimulate the ontological mechanism expressed by an unspeakable form of Etruscan torture.

Canadian artist Steven Shearer contributes a new series of his Poems - striking graphical pieces created through a manipulation of the nihilistic and extreme titles and lyrics of death-metal bands.

China Miéville, better known for his bestselling weird fiction novels, writes on M.R.James and the Quantum Vampire, interrogating the dyad of the weird and the hauntological, and introducing us to a new fearsome creature from his arsenal ... behold the Skulltopus!

Czech art collective Rafani present their cycle Czech Forest, an adaptation of folk-tale imagery which presents a very modern tale of warcrime and revenge from the end of WWII.

Graham Harman returns to Collapse with On the Horror of Phenomenology: Lovecraft and Husserl. In a polemical defence of 'weird realism', Harman demonstrates that philosophical thought has more in common with weird and horror fiction than it might like to admit. Singular Agitations and a Common Vertigo, Keith Tilford's series of images - deftly disintegrated objects with more than a hint of 'pulp' - anticipate and shadow Harman's invocation of the weird inner life of objects.

Collapse Volume IV // Ed. R. Mackay // May 2008 // 390pp // Limited Edition 1000 copies // ISBN 978-0-9553087-3-4 // £9.99

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