Critical Inquiry最新文献

{"title":":The Afterlife of Moses: Exile, Democracy, Renewal","authors":"Peter Jelavich","doi":"10.1086/727656","DOIUrl":"https://doi.org/10.1086/727656","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139126181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"You Have Been Misconnected","authors":"Meghanne Barker","doi":"10.1086/727641","DOIUrl":"https://doi.org/10.1086/727641","url":null,"abstract":"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.","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139128182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":":Apropos of Something: A History of Irrelevance and Relevance","authors":"David Carroll Simon","doi":"10.1086/727654","DOIUrl":"https://doi.org/10.1086/727654","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139125698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":":Behind the Angel of History: The Angelus Novus and Its Interleaf","authors":"Zakir Paul","doi":"10.1086/727655","DOIUrl":"https://doi.org/10.1086/727655","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139128578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":":Crip Colony: Mestizaje, US Imperialism, and the Queer Politics of Disability in the Philippines","authors":"Bassam Sidiki","doi":"10.1086/727658","DOIUrl":"https://doi.org/10.1086/727658","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139128976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":":Bread and Freedom: Egypt’s Revolutionary Situation","authors":"Dina Rashed","doi":"10.1086/727652","DOIUrl":"https://doi.org/10.1086/727652","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139125602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":":Professing Criticism: Essays on the Organization of Literary Study","authors":"Frances Ferguson","doi":"10.1086/727664","DOIUrl":"https://doi.org/10.1086/727664","url":null,"abstract":"","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139126042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Peripheral Vision: Framing the Cultural Bias in the Center of Photography","authors":"Kwabena Slaughter","doi":"10.1086/727644","DOIUrl":"https://doi.org/10.1086/727644","url":null,"abstract":"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.","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139125627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Art of Text-to-Speech","authors":"Benjamin Lindquist","doi":"10.1086/727651","DOIUrl":"https://doi.org/10.1086/727651","url":null,"abstract":"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.","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139127259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Notational/Poetics: Noting, Gleaning, Itinerary","authors":"Maureen N. McLane","doi":"10.1086/727642","DOIUrl":"https://doi.org/10.1086/727642","url":null,"abstract":"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.","PeriodicalId":48130,"journal":{"name":"Critical Inquiry","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139128103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}