Pleistocene Park is a large-scale science experiment in Arctic Siberia in the form of a future-oriented rewilding project with the goal of mitigating climate change. The park’s creators hypothesize that introducing large herbivores into the area will slow the thawing of permafrost. Using the approach of multispecies ethnography in attending to the nonhuman agencies at work in the project, I argue that the park differs from other rewilding projects, which are usually ecocentric, in emerging as a survivalist project with a (...) distinct anthropocentric bent. Even so, the park’s survivalist goal for humans coexists with ontologies based on collaboration and mutual aid between humans and nonhumans and between organic and inorganic matter, with extensive agency assigned to nonhuman others. Drawing on ethnographic fieldwork within the frame of the park’s various genealogies, I trace the project’s underlying assumptions in equal measure to the history of Russian science and to the park’s lead scientists’ experience of sociopolitical rupture following the collapse of the Soviet Union. As a case study, Pleistocene Park is especially suited to exploring issues of time and temporality, apocalypticism and redemption, and extinction and eternity, in addition to particular visions of the natural and the human. (shrink)

How should we incorporate algorithms into humanistic scholarship? The typical approach is to clone what humans have done but faster, extrapolating expert insights to landfills of source material. But creative scholars do not clone tradition; instead, they produce readings that challenge closely held understandings. We theorize and then illustrate how to construct bad robots trained to surprise and provoke. These robots aren’t the most human but rather the most alien—not tame but dangerous. We explore the relationship between the reproduction of (...) tradition and the generation of surprise and then show how formalizing a particular humanistic theory as a Bayesian prior allows us to identify readings that disrupt it through a process of algorithmic abduction. Among the exploding universe of surprising (and mostly ridiculous) possible readings, algorithmic efficiency allows us to select readings that nonetheless garner substantial support from the total archive and so merit interpretation and engagement. It is in such interaction between alien and human readers that meaning is made and understanding disturbed; it is by extending alien readings to novel texts that the scholarly community tests the value of those readings. (shrink)

This article examines the temporal dimension of contemporary architecture, particularly in light of the climate crisis. Mikhail Bakhtin’s category of “adventure-time” is redeployed to describe the general chronotope of postmodernism, one in which contingency and spatiotemporal disjunctions are dominant. In contrast, this essay argues for a new emphasis on duration as a means of attending to temporal continuity. Potential paths for expanding architecture’s critical engagement with duration are explored.

This article addresses how Asian racialization grounds contemporary social media experimentation on—and comprehensive surveillance of—users. To make this point, we focus on the relationship between the sentimentality of white benevolence as an expression of US empire and the social scientific history of sentiment analysis, which derives from early twentieth-century analyses of women workers and Japanese internment camps. The drive to “read” the inscrutable other—framed as a benevolent alternative to direct coercion—underlies methods to better capture and control individuals by understanding their (...) reactions within experimental and disruptive environments. In tracing these histories, we contribute to larger efforts to unpack the centrality of racial formations to current forms of social media and to reveal how contemporary digital campaigns to protect Asian Americans sustain the mutually constitutive logic of white love and white hate. We conclude by reading for moments of Asian affective opacity as ways to move beyond the sentimental economy of love and hate that so easily feeds the digital economy of sentiment analysis. These examples of opacity make possible contradictory meanings to any particular affective response and makes possible practices of care that coexist with, but exceed, the extractive logics of sentiment analysis. (shrink)

I aim to explode a famous thesis about “the rise of fictionality,” argued in an essay of that title by Catherine Gallagher. I also have in mind related claims that the eighteenth or the nineteenth century first distinguished fiction from nonfiction or first differentiated literature from other modes of discourse. Gallagher places the rise of fictionality exactly where Ian Watt placed the rise of the novel—England, 1720 to 1740—and she connects it to the development of a credit economy. This article (...) argues that the relationship between fiction and credit goes deeper than this, insofar as fiction was classically theorized in relation to modal concepts like probability and as such had a direct relationship to what Aristotle called endoxa: what is believed by all or by most. Probability was understood in relation not to what happens but to what is thought to happen: that is, to a socially constituted sense of what and who is credible. The article takes account of the multiple disciplines in which fictionality was theorized in the premodern period, but it emphasizes the centrality of rhetoric and the dissemination of a model of fictionality through the early modern grammar schools. Finally, it reads Shakespeare’s Othello to show that probable fiction was not only an available concept but a crucial tool for the analysis of social life. In Othello, ideologies of race and gender define the unequal terms on which credibility is established. Probable fiction is directly tied to the work of making and unmaking social worlds. (shrink)

This article asks what the emerging computational field of sentiment analysis can teach us about the sentimental novel, and vice versa. It argues that, despite humanistic skepticism about quantitative methods and sentiment analysis’s well-known limitations (in recognizing irony, for example), sentiment analysis can help us better to understand the novel form and the sentimental novel in particular. The literary approach to computational analysis taken in this article demonstrates the ability of sentiment analysis to link large-scale observations about text data to (...) small-scale features of individual texts and reveals that the sentimental novel itself already constitutes an analytical tradition. (shrink)

Marcel Broodthaers’s A Film by Charles Baudelaire was produced in lieu of a research paper for a seminar on Baudelaire run by Lucien Goldmann in Brussels during the winter of 1969–70. The film and the seminar serve as points of departure for this article’s pursuit of three interrelated aims: first, to establish specific discursive coordinates for one of the most mystifying aspects of Broodthaers’s work, namely its pervasive and seemingly anachronistic references to nineteenth-century poetic modernism in general and to Baudelaire (...) in particular; second, to take on the figure of the world for Broodthaers, both in his use of the world map in the Baudelaire film and several other works to be discussed and in the question of his stance regarding the world-shaping catastrophe of colonialism; and finally, to investigate the prominence of the concept of reification in Broodthaers’s theoretical lexicon in relation to its first formulation by Georg Lukács, its revival and dissemination by Goldmann, and Aimé Césaire’s account of colonialism’s “reification of the world.”. (shrink)

This article focuses on Guyanese efforts in the ​postcolonial present to address environmental issues that have become increasingly complex in the face of an awareness of climate change. It opens with an account of how the preservation of Indigenous forests contributes to international efforts to reduce carbon, while making visible the instability that the discovery of oil and gas reserves in the seabed might portend for the Guyanese economy. Specifically, the article examines how engineers have historically confronted settler-colonial discourses about (...) terra nullius unfold as they invest in sea defense. In doing so, the article foregrounds what engineers call slips—the slow or sudden displacement of a sea defense’s structural foundation. Slips are phenomena of energy conversion between land and sea. Rather than arguing for the claims of the pre-Anthropocene earth, the article suggests how many factors are in play in developing policy in the present, in an era of heightened awareness of the different forces in a changing climate. (shrink)

One face in the crowd meets another. Eyes lock, only to disappear again. Craigslist missed connections, a minor genre of the personal ad, reveal the imbrication of mediation and missing. They articulate anxieties over shifting relations in cityscapes and communication infrastructures. This article treats missing as an act and affect defined through mediation. Studying a vernacular narrative form such as the missed-connections ad offers insight on the significance of missing to urban life. The architecture of missed connections shows that they (...) trace and generate connections among physical, transit, and media infrastructures. Articulating a moment of loss and hope for recuperation, missed connections look simultaneously backward and forward in time. They describe interactions at once mundane and unique, leaving gaps that invite projection. These entextualizations of in-person encounters inspire various forms of remediation. These acts come to reanimate cities as spaces where surprise moments of fleeting intimacy can reveal themselves at any moment. (shrink)

As familiar as the form of the mathematical equation is to us, the ostensibly simple act of equating unlike things was an achievement many centuries in the making, and one that would ultimately redefine European mathematical enquiry such that its bias toward geometry and the concrete would be displaced by a bias toward algebraic abstraction. The moment of that displacement was the nineteenth century, and its broader significance is on particularly striking display in the British context, where the implications of (...) algebraic abstraction were the object of sustained enquiry among mathematicians, logicians, and economists. This article argues that the ascendance of the algebraic equation, and the transformation in the conception of number on which it was premised, were not simply the product of evolutionary pressures internal to mathematics; the Victorian embrace of algebra was also a response to the practical and cognitive demands of Victorian economic life, which was increasingly reliant on attenuated exchange relations and merely nominal forms of ownership. This was an economy organized around the global extension of trade and characterized by the exponential growth of financial intermediation, of what Walter Bagehot called “number abstracted from reference.” Victorian economic practices thus modeled an abstraction that helped to justify the abstractions of mathematics, and that mathematics in turn was used by economic theorists to argue for the necessity and objectivity of their models. This mutually sustaining dialogue is particularly visible in the writings of William Stanley Jevons, who applied the principles of algebra to philosophy and economic theory so as to reconceive the logic of cognitive and social life in terms of equations. This logic, for which he was merely a spokesman, continues to shape our faith in the special value of abstract, theoretical knowledge. (shrink)

Long before Siri and ChatGPT uttered their first automated words, there was only one way to program synthetic speech: with paint and brush. During the transformative years between 1930 and 1960, artists, linguists, and engineers mixed sound and image in a way that combined artistic production with new technologies. What was known as “synthesis-by-art” grew into the rules that power computer speech today. This article concentrates on the emergence of rule-based speech synthesis at Haskins Laboratories in mid-twentieth-century America. An unexpected (...) outgrowth of their work with disabled Second World War veterans, members of the Haskins group had developed a new machine that converted visual patterns into sound: the Pattern Playback. Like holes in a player-piano roll, painted shapes were mechanically translated into distinct sounds. Early experiments at the laboratory promised “a new art form.” Researchers painted pictures of music and listened to geometric shapes. This work eventually grew into a psycholinguistic program committed to painting the shapes of speech. But these early aesthetic experiments had helped researchers cultivate a familiarity with paint, brush, and subjective bodily knowledge. This allowed them to intuitively develop a recipe for painting synthetic speech. In other words, their painting hands enacted knowledge long before they could articulate the complex rules that govern how phonemes interact. By the late 1950s, lab member Frances Ingemann successfully converted this “embodied knowing” into a machine-legible code that rigorously detailed how to paint synthetic speech. She had hoped that her rules might result in a reading machine for blind users that would automatically convert text into speech. Instead, her work was coopted by J. C. R. Licklider, who described Ingemann’s rulebook as “a digital code, suitable for use by computing machines.” While Licklider would use the work of Haskins Laboratories to spearhead his novel concept of man-computer symbiosis, he obscured the extent to which this digital code grew from the anomalous bodies of wounded war veterans and the subjective knowing of painting hands. Indeed, the forgotten history of early text-to-speech shows the indivisibility of interactive computing and digital codes from the material practices and embodied cognition from which they grew. (shrink)

This text is the edited transcript of Catherine Malabou’s second Critical Inquiry visiting-professorship lecture at the University of Chicago in January 2022.

This article establishes itself first in a kind of slough, a lack of inspiration, and transvalues this via Fred Wah’s poem “Ikebana” and Roland Barthes’s celebration of haiku as a form that “lacks inspiration.” Following Barthes on “the minimal act of writing that is Notation,” this article explores and theorizes the status of the notational in and for poetics. The article registers and sustains the ambiguity in notatio, notationis and suggests that the notational points to a conceptual dialectic between condensation (...) and dilation. Poets Tonya Foster and W. S. Graham offer key cases, as do the author’s own poems. The article moves from haikus and other short forms (including the imagist poem) to haibuns (a mixed form of verse and prose) to questions of accent as a mode of differentiation from the surround. Drawing on Claudia Rankine and Jacques Rancière (as well as on classical rhetoric), the article also shows how the notational as censure might register antagonisms and not only accents or gestures (as notational forms are typically glossed). Alert to the enmeshment of notational forms with other media—such as the novel and photography—the article suggests in its final turn that a notational poetics can also vivify the (sometimes latent) diegetic aspect of short, minimal, “uninspired,” supposedly “immediate” notational forms and practices, as we see in the dance of notation and annotation, or in the unfolding of haiku within mixed forms such as the haibun. (shrink)

The mark is the present moment of writing. It follows that if we give some thought to marks, we will also learn something about writing. The mark takes place in a certain space, from which it distinguishes itself. In George Spencer-Brown’s Laws of Form, a right-angle mark becomes the founding gesture for a study of distinction, space, and the relations between them. The Spencer-Brown mark is presented as the elegant minimum needed to convey the idea of “continence” or spatial enclosure. (...) Repetitive attempts to enclose a space are evident in the earliest circular scribbles of children. Serge Tisseron suggests that, later on, filling the space of a page with words proceeds by a similar circularity: thoughts are thrown out from an elusive inner space and pulled back in the form of written lines. When words fail us, we may revert to marks—as in cases of graphomania, like those of Emma Hauk and Charles Crumb. The artist Irma Blank devoted a lifetime to exploring the nature of writing through various forms of marking. Her series titled Eigenschriften presents a ritually repeated act of self-making through the mark. (shrink)

This article explores issues of what is seen and not seen, recorded and disregarded, as they relate to the author’s practical experimentations with alternate uses/forms of the camera. These alternates include the slit-scan camera and a little-known form called the cylinder pinhole camera, which was originally designed and tested by the photo historian Joel Snyder. What do these cameras tell us, the author asks, about the center and periphery of an image as it exists inside a camera before that image (...) is recorded on film? The prioritization of content at the center of an image, the article argues, is consistent with the West’s cultural bias toward making two-dimensional images on rectangular surfaces, such as drawings, paintings, and photographs. But we see something very different by looking into the black box of the camera, something not so rectangular. The figures included here, then, are meant to disrupt the center-periphery binary that has ruled photography in the West. These photos offer new insight into social expectations about the capacity of the camera, of panoramic images, and about strategies for analysis of art-making practices in general. (shrink)