Something to ponder - comparative music edition

As I was eating breakfast and listening to the radio this morning, the DJ played back-to-back songs by Billy Joel and Elton John. There was something about them that struck me as similar. Hence...

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Something to ponder, #2: Is Billy Joel America's Elton John?

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.

Something to ponder - premiere edition

I've decided to add a new and probably periodic feature to D&R--a series of posts called, "something to ponder." In it, I'll pose a question I believe is worth thinking about. These posts won't contain much in the way of reflection on my part; that'll be up to you, dear readers, either on your own, or, if you're inclined to think out loud, in the blog comments.

Enjoy--and ponder away!

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Something to ponder, #1: Why is it that the United States Federal Reserve has decided to cut interest rates, which presumably will drive more people into debt, as a way of mitigating the current credit crisis?

Why did I join Facebook?

It was bound to happen sooner or later, I suppose.

By "it," I mean signing up for Facebook. I'd held out for quite some time, my resolve bolstered by an informal straw poll I conducted this past January, in which my friends (not the Facebook variety) and interlocutors on D&R told me that I wasn't missing much by avoiding the popular social networking site.

LIARS!!!!!!!!!! Apparently just about everyone I know, or have ever known, was already on Facebook, which makes me about the last person on earth to join. I suppose it's worth narrating how I ended up there.

To put it as straightforwardly as possible, Twitter is the gateway drug for Facebook. Over the last year or so I'd incorporated various RSS news feeds onto my academic website, Bookworm, since I thought it might be nice to have some elements that updated constantly. I was never really satisfied with them, though, and so about a month or two ago, I made the fateful decision to join Twitter and place a badge on the site. I figured it might be a nice way to add real-time information about my research projects, conference presentations, publications, and so forth. And then something unexpected happened. People started following my Twitter feed, and eventually, I, theirs. It was riveting. One of my followers even proposed a picnic "Tweetup" to all his followers. Suddenly, I realized that virtual connections might indeed translate into "real world" ones.

I also blame Malcolm Gladwell, author of The Tipping Point. I just started reading it in earnest the other night and became enthralled with his portrait of "connectors." These are people who know people--lots of people. Connectors are able to move in and across many different social circles, because they tend to maintain what Gladwell calls "weak ties." For them, connection is far more important than depth in a relationship, which allows them to stay in touch with a sprawling array of people. That sounded pretty Facebook to me.

So after much gnashing of teeth, I bit the bullet last night and signed up for Facebook. At 7:30 p.m., I registered. At 9:30 p.m., I had 17 friends. This morning, I have 28 and counting. I'm still not sure what to make of it all, honestly, but I'm intrigued to see how things develop. It's been nice reconnecting with old friends, though I fear for Facebook becoming a major time-suck. This was confirmed not only by the two hours I spent online last night, but also by some of the comments my friends had left on my Facebook wall. They said things to the effect of, "welcome to the black hole" and "sucker!"

I'll admit, I'm pretty awkward on Facebook right now. I can barely tell my profile page from my home page, and I have no idea what a zombie war is or why you'd want to fight one. I'm anxiously anticipating my colleague Ilana Gershon's book, therefore, which will provide a road map (among other things) to interpersonal dynamics on Facebook. For now, though, I'm really just fumbling through. Please bear with me.

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.

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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.”

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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.

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!

Thoughts on Tuesday's primary

Well, I really blew it on Super Tuesday. In a post on February 5th, 2008, I wrote:

Today, one of my students asked me where he could vote in Indiana's Super Tuesday primary. He was despondent when I told him that Indiana doesn't vote until May--about a week before Guam, and long after the Presidential nominations probably will be sewn up.

Who would have predicted back then that the primary season would still be going strong (for Democrats, anyway) come May? I hadn't, clearly, and I pretty much had resigned myself to having essentially no say in who the Democratic nominee will be. I'm thrilled, therefore, about this Tuesday's Indiana primary. I hear it's the first time in 40 years that the state will play a meaningful role in the Presidential nominating process. It'll truly be an historic day.

It's interesting to have experienced two significant Presidential primaries now--one at the front end of the process, the other, at the back end. In 1992, I was living in New Hampshire, home of the nation's first primary. The Democratic field was wide-open, and the state was abuzz with a dozen or so candidates. The late Paul Tsongas was the front-runner at the time, and I saw him deliver a speech at the UNH Memorial Union Building. The smallish room, where I often heard local bands play, was drab and poorly lit. Tsongas looked fine, but he was neither especially well-appointed nor particularly well-groomed. There was a decent turnout for the event, which was simple and straight-forward: he showed up, we clapped, he spoke, we clapped again, and we all went our separate ways. I vaguely recall that Tsongas seemed to have lacked energy. I'm sure there must have been some media presence, but no doubt the reporters were spread thin, given the size of the field that year.

Fast-forward to 2008. Last Wednesday, I attended a rally for Barack Obama at Indiana University's Assembly Hall. This is the IU basketball stadium. If you know anything about basketball in the state of Indiana, you should have some sense of the size of the event. The venue wasn't exactly filled to capacity, but it was close. Pretty much the only empty seats were in the nosebleed section. The floor was so densely packed that EMTs carted off three or four Obama supporters who, needing fresh air and a reprieve from the heat, had fainted. (In a particularly kind-hearted gesture, Obama tossed his own water bottle into the crowd, to help keep others from passing out.) The whole event was carefully choreographed, all the way down to the homemade looking signs that Obama's campaign staff had provided to the group selected to sit behind him on stage. There were also a capella groups, who entertained us during the two-and-a-half hour lead up to the event, and inflatable beach balls, which the audience knocked around as though were were at an arena rock concert. Oh--and did I mention that among the throng of reporters, there even was a correspondent from The Daily Show? He stood out because of the glittery blue cape he wore over his suit jacket.

As for Obama, he didn't look like someone who's been campaigning for 18 months, that's for sure. He showed up in his shirt-sleeves, and though his appearance may have seemed somewhat relaxed, it nonetheless didn't appear too casual. That is, to me he still read, "politician," and commanded just that sort of attention. His speech may have begun at 9:00 p.m., yet he seemed as fresh and as energetic as if he'd begun speaking at 9:00 a.m. The rally concluded not only with resounding applause, big smiles, and lots of audience glad-handing, but also with Bruce Springsteen's "The Rising" blaring over the stadium PA.

It would be easy enough to wax cynical about how spectacular last week's Obama event was, compared to the Tsongas rally I attended 16 years ago. But what, after all, would be the point of that? Indeed, what's remarkable to me is how much more audience minded Presidential campaigns have become over the last two decades. Sure, a lot of it may be gimmicky, but I'm nonetheless stuck by how invested people seem to be in this particular Presidential election. To put it simply, I don't recall people being as interested in a Presidential nomination--or politics writ large--in my entire adult life. This is a welcome breakthrough indeed.

Surely this resurgent interest in politics has everything to do with the many serious issues facing not only the United States but also the world today. But those issues can easily seem abstract absent certain techniques to get folks riled up about them. Though I've not had the good fortune of attending a Clinton rally, that's surely what I saw at Obama's.

Tuesday's your day, Indiana, the last you may have in a looooooong time. Make it count, an keep the momentum going!

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.

Your name in binary code

THEODORE STRIPHAS = 01010100 01101000 01100101 01101111 01100100 01101111 01110010 01100101 00100000 01010011 01110100 01110010 01101001 01110000 01101000 01100001 01110011.

Binarize (is that a word?) your name here.

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.

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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

Buy or Subscribe at: http://blog.urbanomic.com/urbanomic/archives/2007/08/buysubscribe.html

The big announcement, at long last

I've been hinting for weeks (maybe longer) that I had a B-I-G announcement forthcoming about my book, The Late Age of Print: Everyday Book Culture From Consumerism to Control. At long last, here it is: the book will be published in 2009 by Columbia University Press!

I'm thrilled, needless to say, because Columbia's such an esteemed press and has published so many books I love: from Rachel Bowlby's Carried Away: The Invention of Modern Shopping to Gary Cross' An All Consuming Century, and from David Henkin's City Reading: Written Words and Public Spaces in Antebellum New York to Gilles Deleuze and Félix Guattari's What Is Philosophy? and beyond.

What's also thrilling is that Columbia has agreed to make available, for free, a Creative Commons licensed PDF of The Late Age of Print. It will be released on the internet, concurrent with the publication of the print edition of the book. This is the first time Columbia is producing a book this way, and given my own proclivities toward intellectual property (not to mention the arguments I make in the book), I couldn't be happier to be the test case. What's more, I'm pleased to see another major university press taking a strongly affirmative stance toward open access to ideas.

Many of you who read this blog will find yourselves thanked in the book's acknowledgments. For now, though, a big, blanket "thank you" to all who've supported me throughout the process of researching, writing, revising, and finalizing The Late Age of Print. It's funny--for someone who writes about book publishing, I feel like I learned as much about the book business by trying to get The Late Age of Print published as I did by actually writing it!

The Society of the Spectacle©

Sorry for all the quiet. The last couple of weeks have been hectic, to put it mildly, with me finalizing my book manuscript and delivering a keynote address at a wonderful conference organized by the graduate students in the Department of Spanish and Portuguese at UC Berkeley. And this week, my old mentor and very dear friend, John Erni, is headed here to Indiana to deliver a talk on "The New Sovereignties." Good things are happening, but unfortunately, Differences & Repetitions has suffered as a result. So thanks, readers, for sticking around.

I'm writing to share a story from this week's Chronicle of Higher Education. It talks about how Alex Galloway, an Associate Professor at NYU and someone I knew from grad school, has run into copyright trouble with, of all things, the estate of Marxist Guy Debord! Here's a taste of the article:

Guy Debord, the Marxist and French philosopher who died in 1994, may be rolling over in his grave.

A lawyer representing his widow has threatened Alexander R. Galloway, an associate professor of culture and communication at New York University, with legal action. Mr. Galloway said the lawyer sent him a letter demanding that he cease and desist from distributing his online war game, claiming it infringes on the copyright of the Debord estate. The philosopher had created a similar war game.

But copyrights and intellectual property were anathema to Debord, said Mr. Galloway. The Situationist International movement that Debord founded in 1957 is a mix of anarchism and Marxism. Its followers scrawled, "Abolish copyright" on building walls during the May 1968 student uprisings in Paris.

I know capitalism's supposedly rife with contradication, but this is getting ridiculous. (And here I'm reminded of Deleuze and Guattari's claim, "Nobody's ever died from a contradiction.") Indeed, to me, Alex's game is clearly a transformative use of Debord's concept and therefore well within the bounds of fair use.

Isn't it depressing when Marxists, or at least the spouses thereof, don't see things the same way? And isn't it even more depressing when the work of great Marxists comes to be seen not as a source of critical heuristics but rather as a lucrative revenue stream? Perhaps I'm naive, but I thought Debord's ideas and creative work were supposed to give us some distance from the excesses of the "society of the spectacle" and not, as it were, to become them.

Anyway, you can read the full story here. This is a very interesting case to me, since it would seeem to hold not insignificant implications for the matter of academic freedom, above and beyond any copyright considerations that may be at stake.

"Light's out" for Google?

Google often celebrates holidays and other major events by changing the look of its home page. At Thanksgiving, for example, you're likely to find pilgrims gallivanting, or perhaps an unfortunate turkey or two running for their lives. Valentine's Day usually means hearts and all that mushy stuff, St. Patrick's Day brings shamrocks and leprechauns...you get the drill. Well, today, Google's usually white background has been turned black in an effort to raise awareness for Earth Hour--an event designed to curb global energy consumption and raise awareness about global climate change.

Let me say that I'm behind the Earth Hour event. It's a fantastic idea, and I'd love to see its principles institutionalized. (It does make me wonder, though, about the prospects of Earth Day, which is a different event celebrated every April, getting downsized to a mere hour--but that's a topic for another post.)

However welcome Google's promotion of Earth Hour may be, I still find it strange for two reasons. First, I read a fascinating article by Ginger Strand called "Keyword: Evil--Google's Addiction to Cheap Electricity," which was published in the March 2008 issue of Harper's. There, she notes how Google's new server farm, to be built in The Dalles, Oregon, will consume about as much power in a given day as the entire city of Tacoma, Washington. Second, though I'm grateful to Google for plugging Earth Hour, the company gives no indication that it's planning on unplugging anything itself. It offers this statement instead:

Given our company's commitment to environmental awareness and energy efficiency, we strongly support the Earth Hour campaign, and have darkened our homepage today to help spread awareness of what we hope will be a highly successful global event.

Much as I respect Google--one of the most heavily-trafficked websites on the internet and host of Differences & Repetitions via Blogger--and its decision to promote Earth Hour, I'm sad to say its doing so seems more like carefully calculated corporate greenwashing than it does a genuine effort to cultivate environmentally sustainable practices. To point out the obvious: turning a computer screen black is not turning it off.

In addition to extinguishing all our lights for an hour, how much more of an impact could we make if we unplugged everything--lamps, toasters, computers, even Google itself (yes, YouTube too)--for an hour?

Print is dead

I've just added a new site to the blog roll: Jeff Gomez's Print is Dead. I discovered it by accident while doing some research on "the late age of print," which is a phrase Jay David Bolter coined and, as many of you know, is the title of my forthcoming book. I've only read a few of Jeff's posts thus far, and while we may come at some of the issues confronting today's book industry from different perspectives, it's clear he's got a lot of smart things to say. I love the title of his blog, too, which comes from a line Egon (Harold Ramis' character) delivers in the movie, Ghostbusters.

Speaking of The Late Age of Print (the book), I have a big, big, BIG announcement coming up very soon. Stay tuned--or whatever one does to keep one's attention on a blog. Would it be more apt to say, "ready your feed readers?" That doesn't exactly roll off the tongue now, does it?

Getting the Constitution through security

This is the first in what I hope will be a periodic series of guest-posts.... --t

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by DUSTIN HOWES

I am one of many millions of Americans who, like Dick Cheney, have a defibrillator/pacemaker implanted in their chest. The neat little device not only miraculously regulates your heartbeat and, if necessary, shocks you out of arrhythmia (mine has never fired, but others have told me it feels like getting kicked in the chest by a horse), it also manages to throw off the usual rhythms of airport security. Since it’s metal, the defibrillator sets off the detector, but you can’t very well remove it and put it in the gray tray. Not unless you want to all get all “priest from the Temple of Doom” on their asses.

The required alternative is to go through a pat down. Now that I’ve had perhaps a hundred of these, I could probably run the training session: 1. Check the passenger’s boarding pass. 2. Tell her or him to stand on the mat with the two footprints. 3. Tell her or him to spread their arms. 4. Ask them if they would prefer a “private screening.” 5. Inform them when you will be “touching sensitive areas” and that you will “be using the back of my hand.” And so on.

I find airport security, and particularly the post-9/11 version of airport security, extremely troubling and pointless. So I decided a few months ago to get some t-shirts made with the Fourth Amendment printed on the front and back. For a while, I didn’t feel like I was up to wearing them. What if I got stopped? (Sometimes I said to myself, “This trip is too important to wear it.”) What if people asked questions and I was tired and didn’t feel like talking? I have been traveling a lot and not enjoying it very much.

Anyway, I finally got up the nerve to wear the shirt a couple weeks ago. I found it strange that I was so nervous and self-conscious about wearing the Constitution. Yes, the shirts are not very fashionable and rather wordy. They demand a lot from the public. But more than that, I felt like I was doing something wrong – like I was getting the Constitution through security.

All in all, the trip from Baltimore to Baton Rouge and back again was pretty uneventful. Some passengers commented on the shirt – the completely drunk woman who sat next to me on one of my flights read it out loud and said: “OK! OK!” Other comments from passengers and people working the food places at the airport were mostly positive. When I went through security the first time, a TSA guy running the checkpoint, who from his accent seemed to be a first generation immigrant, tried making conversation: “Hmm … De Fourdth Ah-mednt-ment.” Out of nowhere and to my own surprise I said, “Yeah. This tells you why all of this is illegal.” He didn’t seem to care much. But as I spread my arms in the little fishbowl area among the scanners, his underling did give me an especially brisk pat down.

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Dustin Howes is currently Assistant Professor of Political Science at St. Mary's College of Maryland and will join the Department of Political Science at Louisiana State University in the Fall. His first book, Toward a Credible Pacifism: Violence and the Possibilities of Politics, is forthcoming with SUNY Press. He has published in International Studies Quarterly, has an article forthcoming in Holocaust and Genocide Studies, and wrote the lead essay in the interdisciplinary volume, Ruminations on Violence (2008, Waveland Press).

CFP: Accidents in Film and Media

CALL FOR PAPERS, special issue of the Discourse: Journal for Theoretical Studies in Media and Culture

Greg Siegel, Film and Media Studies, UC Santa Barbara: gsiegel@filmandmedia.ucsb.edu

"Accidents in Film and Media"

In The Accident of Art (2005), Paul Virilio proposes that "as soon as there is invention, there is accident," and that the accident "reveals something important that we would not otherwise be able to perceive." Writing of one momentous invention, Mary Ann Doane identifies cinema's driving impulse as a "curious merger of contingency and structure," suggesting that the moving image participates in the taming of the unpredictable while simultaneously reinforcing its power.

Taking these provocations and paradoxes as points of departure, this special issue of Discourse: Journal for Theoretical Studies in Media and Culture seeks original essays that examine the "something important" revealed by accidents, contingency, and the unexpected specific to media as technologies, expressive forms, and apparatuses of social power. What sorts of histories emerge when we treat media technologies as potential time bombs? media "texts" as veritable train wrecks? and ephemeral traces and transmissions as traumatic scars? How do forces of chance and contingency impact regimes of representation and mediated modes of perception? What political forms do the accidental and the unexpected inspire, imagine, or actualize? How do they intersect or unsettle questions of control, security, risk, wager, preemption, etc.?

In an age marked by increasingly intensified calculation, precision, and the capacity for global destruction, what is the status of chance and contingency? How do contemporary concepts such as viral media, "democratization," and ubiquity coexist with the digital promise of total numeric control of recorded images and sounds? What is the place of medium specificity and convergence in these discussions, and how have technological alterations (e.g., film-historical developments such as sound, color, and digital recording media) affected the relationship of media (as archives, repetitions, reproductions) to the unexpected? Moreover, how might notions of the accidental, the contingent, and the unexpected also inform the methodologies one uses to think about and interpret systems of representation and media?

The editors encourage submissions that inspect the unexpected in film and media (from print culture to digital media) from a breadth of disciplinary and methodological perspectives and invite work that focuses on diverse geographical locales and historical moments. Articles should be about 7,500-8,000 words in length, notes included, and formatted according to the Chicago Manual of Style, 15th edition. The submission deadline is 30 June 2008. Please email all queries and submissions using the subject header "Accidents" to:

discourse@cinemail.usc.edu.

For more information on Discourse see:

http://www.usc.edu/org/discourse/.

Issue Editors:
René Thoreau Bruckner, Critical Studies, Univ. of Southern California
James Leo Cahill, Critical Studies, Univ. of Southern California
Greg Siegel, Film and Media Studies, UC Santa Barbara

All those trees!

An interesting post I thought I'd pass along from the Environmental News Network....

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PLANT A TREE FOR EVERY BOOK YOU READ

Want to get a new book but worry about its environmental impact? Worry a little bit less. With the help of Eco-Libris, you can plant a tree for every book you buy or read.

Says Raz Godelnik, an Eco-Libris co-founder, the company works with readers, publishers, writers, bookstores, and others in the book industry to balance out the paper used for any book by planting trees. About 20 million trees are cut down annually for virgin paper to be used for the production of books sold in the U.S. alone. Eco-Libris raises awareness about the environmental impacts of using paper for the production of books and provides book lovers with a simple way to do something about it: plant a tree for every book they read. Ten dollars will cover tree planting for ten books.

To date, Eco-Libris has balanced out over 24,000 books, resulting in the planting of more than 31,500 new trees! Kedzie Press is collaborating with Eco-Libris in a "Million Tree-A-Thon" initiative to plant one million trees for one million books by the end of 2009.

The Eco-Libris program is being offered by some local bookstores; otherwise, it's easy to participate on-line.

Thumbs up, Eco-Libris.

You can read my interview with Eco-Libris here.

Goodbye, tenure-track faculty

I'm not sure what to make of this:

Every other year, data released by the Education Department’s National Center for Education Statistics provide a snapshot of the growth of part-time positions in the professoriate. This year — an off-year for that data — the federal statistics provide evidence for another shift, in which the majority of full-time professional employees in higher education are in administrative rather than faculty job.

So I guess we tenure track faculty are now a minority in the academy. Could it be that we're also an endangered species? It's certainly odd to think about universities as places not abounding in professors (at least, as the term has tended to be understood).

I wonder: is this the university's version of the widening gap between the rich and the poor, or between the administrative class and an increasingly "casualized" workforce (for whom there is nothing casual about their labors)? Are tenure tack faculty getting "compressed" out of existence, given how cuts in state education budgets, combined with increasingly high administrative salaries, would seem to demand a more "flexible" workforce at the bottom? For any economists out there who may be reading, please chime in anytime....

For more on the global distribution of wealth, see my previous entry, below. And for the complete story about the changing shape of university employment, check out today's Inside Higher Ed.

Poor little rich guy

I was just finishing up some research on Oprah Winfrey for my book when I came across this startling little nugget from Forbes.com: Microsoft maven Bill Gates no longer is the richest person in the world. He's ceded the throne to über-investor Warren Buffett, after 13 gilded years at the top. Actually, he's slipped to number three, one notch below telecommunications mogul Carlos Slim Helú.

Before you go shedding any tears over Mr. Gates' fall from grace (or from the top of the Forbes list, at any rate), be sure to keep this tidbit in mind: the guy's still worth $58 billion, which is $2 billion more than he was worth this time last year. He's clearly not hurting.

And for those of you keeping track of the concentration of wealth, here's some depressing news. According to Forbes.com, there are 1,125 billionaires on the planet whose "total net worth...is $4.4 trillion, up $900 billion from last year." Yes, that's right--at a time when real wages are falling for the rest of us, the wealthiest people in the world got about 25% richer. So why not put that in your pipe and smoke it? They sure do.

On the death of William F. Buckley, Jr.

I don't usually make a habit of devoting blog space to conservative figures, much less to one the New York Times recently called "the architect of modern conservatism." I believe conservative policies on the whole have been extremely detrimental for the nation and the world. As such, I tend to reject them, along with their underlying philosophies.

I didn't always, though, and I owe my political turn around in part to William F. Buckley, Jr., who passed away late Tuesday night.

I grew up in a Republican household--a very Republican household. My father was quite active in the New York Republican party at both the local and state levels. I recall accompanying him to a smoky Republican party headquarters one cold November night in the early 1980s, where we cheered the victories of "our" candidates. The community in which I was raised also was staunchly Republican. It was something of an enclave in this regard, since New York State on the whole tended to be more Democratic, at least, at the time.

Most of my friends' parents were Republicans, and most of my friends knew nothing else but. Consequently, we considered ourselves to be junior members of the Republican party, the inheritors of the GOP. We campaigned for aid to the Central American Contra insurgency during our mock-government conventions. We thought Ollie North, with his perfect posture, crisp uniform, and sad eyes, had been wronged by the liberal establishment. We celebrated the Reagan-Bush landslide of 1984, and in 1988, some championed the cause of the next Republican administration by affixing Bush-Quayle signs to their lockers at school.

We all knew a few, simple things. Democrats or, worse yet, Progressives, obviously were Communist loving softies who wanted to tax the nation into bankruptcy. They also wanted give all sorts of breaks to groups who clearly didn't deserve them. At least, that's what we all believed, swept up as we were in the rising tide of the Reagan Revolution.

My father passed away in 1986, and thereafter, my maternal grandfather became more of a presence in my everyday life. He, too, was an arch conservative. (His father had been a federal court judge, however, whom Franklin Roosevelt had appointed to the bench.) When I headed off to college, in 1991, my grandfather worried. He was a prodigious reader of conservative publications and was well aware of the culture wars taking place around that time on college campuses. He also knew U.S. colleges were "bastions of liberalism," and so he wanted to do what he could to shield me from almost certain ideological indoctrination by the left-wing thought police.

His solution was to subscribe me to the conservative news magazine William F. Buckley had founded in 1955, the National Review. Every two weeks a new issue arrived at my dorm room. I recall thumbing through most of them, more or less interested. Some I read quite intently. One contained a fascinating book excerpt that asked what would have happened had the U.S. not entered the Second World War. Another issue contained a story in which the author argued that the South African anti-Apartheid movement really was a Communist front, and that it should be resisted by the United States at all cost.

It was with the latter article that I began to recognize something was wrong. Why in the world would anyone advocate sustaining Apartheid? This was racism--bald, state-sanctioned racism. How could "godlessness" or "collectivism" be worse than that type of injustice? And how could someone associated with the "party of Lincoln" maintain such a position? Despite my questions, I continued to hold fast to my Republican ideals and passed off the article as one bad apple amid an otherwise okay bunch.

I proceeded to take a political science class during the second semester of my first year at college. The professor was an avowed conservative who had been educated at Georgetown. We read What I Saw at the Revolution, a political memoir penned by Peggy Noonan, Reagan's most famous speech writer. The Professor liked my work and even told me that it reminded her of the kind of thinking she used to encounter at Georgetown. I was proud of that compliment, and even prouder when I earned an A in her class. At the end of the school year, I happily reported to my grandfather that colleges--at least, the one I was attending--maybe weren't great bastions of liberalism after all.

And then it happened. In 1991, Rodney King, an African American man, had been beaten by a group of police officers in Los Angeles, following a traffic stop. The acquittal of all but one of the policemen by a mostly white jury, in April 1992, prompted a wave of riots in L.A. All, clearly, was not well with race relations in this country. I'd seen the infamous videotape of the beating many times. Though I knew there was some room for interpretation--the NR had told me so--it was crystal clear to me that the officers had well exceeded the amount of force necessary to subdue Mr. King. And they were all white.

What horrified me beyond the verdict and the violence, though, was a mailing I received during the summer of 1992: a solicitation of support for the Sargeant Stacey Koon legal defense fund. Koon was one of the ringleaders of the beating, and here I was being asked to help him out. I wondered for a moment why I had received this mailing, when it dawned on me: Koon and his buddies must have gotten my name and address from the National Review.

That was the turning point. I knew then conservatism wasn't for me. There was no going back. And I have William F. Buckley, Jr. to thank for this, my political awakening. Surely it wasn't the one he would have endorsed, much less have expected, but for this reason, he'll never be the "architect of modern conservatism" for me. If anything, he and his magazine helped demolish my conservatism and pave the way for my progressive education.

So thank you, Mr. Buckley, and godspeed.