Fibreculture Journal 20: Networked Utopias and Speculative Futures (2012)

“This issue of The Fibreculture Journal has brought together studies in networked communities with novel, historical and creative approaches to utopia in order to examine the productivity of future-thinking from our present location. Reading through the essays collected here it becomes clear that framing utopia in the future, endlessly deferring it until a ‘perfect’ world emerges, is a perfect way of never doing anything at all. More immediately, the events of the Arab Spring, the rebuilding of Christchurch, and other examples of activism and community work documented here reframe the future through the present, reminding us that the actions we take today open up new possible futures. Indeed this is the message of the ‘risk subject’ described by Levina, in which the future perfect self is created by the choices of the present. Many of the essays published in this issue interrogate the relationships between hopeful imagining and action. In looking for utopia they acknowledge the value of hope, but recognise that ‘networks’ need to be active sites of engagement, critique, and risk, not simply an abstract idea, or ideal. The network alone will not get us there. As a whole this issue exposes and critiques the casually utopian use of the network as a synonym for open, free, egalitarian and participatory. In retaining the paradox at the heart of the term “networked utopias” we have opened up a dynamic, messy, imperfect arena of hopeful action and collective speculation.” (from Editorial)

Articles on: The material substrate of networks; the Arab Spring; re-imagining mobile communications via encounters with a neolithic village; the ‘freedom of movement and freedom of knowledge’ events that have taken place between Spain and Morocco; utopias and political economies of networks, space and time; networks and health; networks and food; and Montréal residents’ appropriation of train tracks.

Issue Edited by Su Ballard, Zita Joyce and Lizzie Muller
Publisher: Fibreculture Publications/The Open Humanities Press, Sydney, Australia, July 2012
ISSN: 1449 – 1443

PDF
EPUB
HTML

Douglas Coupland: Marshall McLuhan: You Know Nothing of My Work! (2010)

“Marshall McLuhan, the celebrated social theorist who defined the culture of the 1960s, is remembered now primarily for the aphoristic slogan he coined to explain the emerging new world of global communication: “The medium is the message.” Half a century later, McLuhan’s predictions about the end of print culture and the rise of “electronic inter-dependence” have become a reality-in a sense, the reality-of our time.

Douglas Coupland, whose iconic novel Generation X was a “McLuhanesque” account of our culture in fictional form, has written a compact biography of the cultural critic that interprets the life and work of his subject from inside. A fellow Canadian, a master of creative sociology, a writer who supplied a defining term, Coupland is the ideal chronicler of the uncanny prophet whose vision of the global village-now known as the Internet-has come to pass in the 21st century.”

Publisher Atlas & Co, New York, 2010
ISBN 1935633163, 9781935633167
224 pages

review (Nicholas Carr, The New Republic)
review (David Carr, The New York Times Sunday Book Review)

author
wikipedia
publisher

EPUB
MOBI

Lisa Gitelman: Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (1999)

This is a richly imaginative study of machines for writing and reading at the end of the nineteenth century in America. Its aim is to explore writing and reading as culturally contingent experiences, and at the same time to broaden our view of the relationship between technology and textuality.

At the book’s heart is the proposition that technologies of inscription are materialized theories of language. Whether they failed (like Thomas Edison’s “electric pen”) or succeeded (like typewriters), inscriptive technologies of the late nineteenth century were local, often competitive embodiments of the way people experienced writing and reading. Such a perspective cuts through the determinism of recent accounts while arguing for an interdisciplinary method for considering texts and textual production.

Starting with the cacophonous promotion of shorthand alphabets in postbellum America, the author investigates the assumptions—social, psychic, semiotic—that lie behind varying inscriptive practices. The “grooves” in the book’s title are the delicate lines recorded and played by phonographs, and readers will find in these pages a surprising and complex genealogy of the phonograph, along with new readings of the history of the typewriter and of the earliest silent films. Modern categories of authorship, representation, and readerly consumption emerge here amid the un- or sub-literary interests of patent attorneys, would-be inventors, and record producers. Modern subjectivities emerge both in ongoing social constructions of literacy and in the unruly and seemingly unrelated practices of American spiritualism, “Coon” songs, and Rube Goldberg-type romanticism.

Just as digital networks and hypertext have today made us more aware of printed books as knowledge structures, the development and dissemination of the phonograph and typewriter coincided with a transformed awareness of oral and inscribed communication. It was an awareness at once influential in the development of consumer culture, literary and artistic experiences of modernity, and the disciplinary definition of the “human” sciences, such as linguistics, anthropology, and psychology. Recorded sound, typescripts, silent films, and other inscriptive media are memory devices, and in today’s terms the author offers a critical theory of ROM and RAM for the century before computers.

Publisher Stanford University Press, 1999
ISBN 0804732701, 9780804732703
282 pages

Review (Daniel Gilfillan, RCCS, 2002)

Publisher
Google books

Download (removed on 2013-11-12 upon request of the publisher)