Scope and Contents

This book was critically reviewed by Marjorie Perloff in Harvard Library Bulletin Vol.3 No.2, 1992, a periodical held by the Sackner Archive. This is the trade edition of the book that was first printed in a limited edition of 70 copies in 1990. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The piece has writing on it in two places, reading, "I was a trophy wife" and "After us the savage god."

Scope and Contents

A different type and colored ink was utilized for each page. According to Drucker, the book was printed from various typefaces at Bow and Arrow, in collaboration with Emily McVarish, each writing one line throughout, to display the type collection, and to teach Emily how to print. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com: Nearly a decade ago, Johanna Drucker cofounded the University of Virginia's SpecLab, a digital humanities laboratory dedicated to risky projects with serious aims. In SpecLab she explores the implications of these radical efforts to use critical practices and aesthetic principles against the authority of technology based on analytic models of knowledge.Inspired by the imaginative frontiers of graphic arts and experimental literature and the technical possibilities of computation and information management, the projects Drucker engages range from Subjective Meteorology to Artists' Books Online to the as yet unrealized Patacritical Demon, an interactive tool for exposing the structures that underlie our interpretations of text. Illuminating the kind of future such experiments could enable, SpecLab functions as more than a set of case studies at the intersection of computers and humanistic inquiry. It also exemplifies Drucker's contention that humanists must play a role in...

Scope and Contents From the inside flap of the book: Johanna Drucker's "sweet dream" is for a new and more positive approach to contemporary art. Drucker argues that contemporary art is fully engaged with material culture"”yet still struggling to escape the oppositional legacy of the early-twentieth-century avant-garde. She calls for a revamping of the critical vocabulary used to discuss art into one more befitting current creative practices.Drucker shows that artists today are aware of working within the ideologies of mainstream culture and have replaced avant-garde resistance with acknowledged complicity. Finding their materials at malls and superstores or exploring celebrity culture, contemporary artists have created a vibrantly playful attitude towards mass culture"”all while critics continue to cling to an outmoded vocabulary of opposition and radical negativity that defined modernism's avant-garde. At the cutting edge of new media research, Drucker surveys a wide range of exciting contemporary...

Scope and Contents

This book includes a complete isting of Campbell's books together with his comments on how and why each book was produced. -- Source of annotation: Marvin or Ruth Sackner.