In The Case for Books you wrote that ‘the explosion of electronic modes of communication is as revolutionary as the invention of printing with moveable type’. How do you feel this revolution is changing the way knowledge or information is spread?
Well, first I should say that the word ‘revolution’ is used very loosely, in general, so I said that after some hesitation. I mean, I’ve read about revolutions in menswear and revolutions in football styles of defence and so on. So, I don’t want to weaken the term. And, it’s a term that can be used in lots of different ways. But let’s say that the assertion is that the means of communication are changing as rapidly, as dramatically, today as they did in Gutenberg’s day. And, in fact, we’ve learned a lot about Gutenberg’s day: the change, perhaps, was not quite as rapid as people had thought when they refer to it as a revolution. We know, for example, that manuscript publishing continued for three centuries after Gutenberg, and really flourished. So, that’s by way of preface to what I was saying. But your question is how does this change, whether revolutionary or not, affect the way communication penetrates into society.
Well, you know, you have to just sit on a bus, or in a subway if you’re in New York, or London, or Paris and watch people with their smartphones or their various handheld devices. The phrase is sometimes used: ‘people are always “on”’. That is, they are always online, they’re always communicating. There has, I think, been a restriction of a kind of blank space in life: a time when people, so to speak, did nothing. Of course, they were never doing nothing. But it meant that there was a time in which they weren’t consciously communicating, but letting the world go by. Now, there’s a lot to be said for letting the world go by. You could sit and observe things, and maybe be exposed to surprises. But now I think there is this sense of constantly exchanging messages. Doing it all the time. That’s different, I think, qualitatively, from anything that ever existed before, even though people were exchanging gossip at the village pump. So, I think it is a very profound change in the way we live our lives, and it’s made communication and information more central than they ever were. (more…)
Music & Literature no. 6 champions the work of three artists poised to break through on the international stage: Argentine poet Alejandra Pizarnik, Ukrainian composer Victoria Polevá, and Croatian writer Dubravka Ugrešić.
An aura of almost legendary prestige surrounds the short life of Alejandra Pizarnik, who, though haunted by doubt and depression, left behind an oeuvre by turns searing, tragic, playful, and erotic. Her portfolio brings into English 100 pages of previously untranslated prose, diary entries, and letters, as well as appreciations from, among others, Enrique Vila-Matas and César Aira, who writes that Pizarnik “was not only a great poet, she was the greatest, and the last.” (more…)
Sebald: Being a writer is by no means an easy profession. It is full of difficulties, full of obstacles. For a start, there is the psychology of the author, which is not a simple one. There are these situations when suddenly nothing seems to work anymore, when you feel unable to say anything. In such cases it is very helpful if someone can tell you that this happens to everybody, and show you how one might deal with such problems. In these situations it is very often the case that people neglect the research aspect. Every writer knows that sometimes the best ideas come to you while you are reading something else, say, something about Bismarck, and then suddenly, somewhere between the lines, your head starts drifting, and you arrive at the ideas you need. This research, this kind of disorderly research, so to speak, is the best way of coping with these difficulties. If you sit in front of a blank sheet of paper like a frightened rabbit, things won’t change. In such situations you just have to let it be for a while. (more…)
A recent exhibition at London’s National Gallery has prompted a sense of seedy bemusement among journalists. Metamorphosis: Titian 2012, which displays the work of the Italian Renaissance painter alongside several contemporary reinterpretations, has created something of a stir. (more…)
About the Conference
Beckett and Modernism
The Second Annual Conference of the Samuel Beckett Society
The year 2016 will mark the 40th anniversary of the Journal of Beckett Studies (JOBS), founded in 1976 by James Knowlson and John Pilling. To celebrate this occasion, we are proud to announce both of them as keynote speakers at the second conference of the Samuel Beckett Society, dedicated to Beckett and Modernism. Sometimes referred to as ‘The Last Modernist’, Beckett has also been situated within the postmodern canon. After a long critical debate, the term ‘modernism’ has recently been reframed by a vibrant field of what is sometimes called the ‘new modernist studies’, and the term ‘Late Modernism’ seems to be gaining currency in Beckett studies. (more…)
Samuel Beckett in Company is a new series from Ibidem that seeks to place Beckett within an array of contexts – literary, historical, geographical, philosophical, theoretical and institutional – yet with the overarching rationale of tracing the relations of which Beckett is the centre.
Through a career that spanned prose, poetry, theatre, literary criticism, radio, film and television over a period of some 60 years, Beckett was influenced by, negotiated with, and then came to influence, a host of artists (both literary and non-literary), media and their associated institutions. By placing Beckett at the centre of such relations, the series aims to trace influences on Beckett, but also to investigate how he influenced subsequent artists, movements, media and institutions. Submissions that focus on new or previously neglected relations are particularly welcome. (more…)
A friend of Frank Lloyd Wright’s once observed that for as long as she had known him, the architect seemed to spend the day doing everything but actually working on his building designs. He held meetings, took phone calls, answered letters, supervised students—but was rarely seen at the drafting table. The friend wanted to know: When did Wright conceive the ideas and make the sketches for his buildings? “Between 4 and 7 o’clock in the morning,” Wright told her. “I go to sleep promptly when I go to bed. Then I wake up around 4 and can’t sleep. But my mind’s clear, so I get up and work for three or four hours. Then I go to bed for another nap.” Wright was hardly unusual in this habit. In researching Daily Rituals, I came across story after story of creative artists who did their most important work—and sometimes their only work—just as the sun was rising. (Of the 161 figures in the book, about a third got up at 7 a.m. or earlier.) If I were going to extrapolate one lesson from the book, it would be this: Get up early and go straight to work, making a cup of coffee if you like but not doing much else before sitting down, and take advantage of that time before the myriad demands of daily life have a chance to take hold. (more…)
Personally I’ve never met any intellectuals. I’ve met people who write novels, others who treat the sick; people who work in economics and others who compose electronic music. I’ve met people who teach, people who paint, and people of whom I have never really understood what they do. But intellectuals? Never.
— Michel Foucault, Ethics
A call for papers from the European Society for Literature, Science and the Arts (SLSAeu):
This year’s conference is dedicated to the theme of Scale. In one way or another, scale is an issue deeply embedded in every discipline and every aspect of scholarly and scientific research. As the Call for Papers puts it, in the grand scheme of things Scale is the scheme of things itself. We do very much hope, therefore, that you will be as excited by the prospect of an interdisciplinary conference on Scale as we are. We are very pleased that the location of the conference will be Malta, an island in the middle of the Mediterranean with a rich history and culture, where effects of scale have exerted intriguing and complex energies for centuries, and which provides a particularly fitting and appealing venue for this year’s event. (more…)