In the Flesh (Holly Crocker [University of South Carolina])
Melting Flesh, Living Words (Jay Zysk [University of South Florida])
The Temporal Excesses of Dead Flesh (Cynthia Turner Camp [University of Georgia])
Carnival in The Merchant of Venice (Jonathan Goldberg [Emory University])
The Curious Pleasures of the Heroic Corpse (Kathryn Schwarz [Vanderbilt University])
Scattered Remains and Paper Bodies: Margaret Cavendish and the Siege of Colchester (Frances E. Dolan [University of California, Davis])
Fleshing out the text: The Transcendent Manuscript in the Digital Age (Elaine Treharne [Stanford University])
Spirited Flesh: The Animation and Hybridization of Flesh in the Early Modern Imaginary (Emily L. King [Vanderbilt University])
Hi Mho Jhi Kudd: Thomas Stephens’s Translated Flesh, or, Coconuts in Goa (Jonathan Gil Harris [Ashoka University])
I was very lucky to be invited recently by George Washington University — more specifically, GW’s new Digital Humanities Institute [Alex Huang], GW’s Medieval and Early Modern Studies Institute [Jeffrey Cohen], and the Gelman Library [Geneva Henry and Karim Boughida] — to give a talk on the state(s) and future(s) of open-access publishing, and in order to make this talk more accessible, I am sharing it here [in augmented form]!
A Time for Radical Hope: Freedom, Responsibility, Publishing, and Building New Publics
Professional Challenges. Amateur Solutions.
~The Bruce High Quality Foundation
For what may we hope? Kant put this question in the first-person singular along with two others — What can I know? What ought I to do? — that he thought essentially marked the human condition. With two centuries of philosophical reflection, it seems that these questions are best transposed to the first-person plural. And with that same hindsight, rather than attempt an a priori inquiry, I would like to consider hope as it might arise at one of the limits of human existence [such as the collapse of an entire culture]. . . . What makes hope [in the face of such a collapse] radical is that it is directed toward a future goodness that transcends the current ability to understand what it is. Radical hope anticipates a good for which those who have the hope as yet lack the appropriate concepts with which to understand it.
~Jonathan Lear, Radical Hope: Ethics in the Face of Cultural Devestation
The Bruce High Quality Foundation is an anonymous collective and unaccredited art school, formed in 2004 by graduates of Cooper Union art school in New York City, who wanted to “foster an alternative to everything,” especially in New York City’s rarefied art world. Bruce High Quality is their whimsically invented figure-head: a sculptor who supposedly perished, along with all of his works, in the 9/11 attacks, and whose memory and legacy the collective seeks to maintain. One of their first interventions, or acts of institutional critique, happened in 2005 when the Whitney Museum wanted to honor the legacy of the illustrator Robert Smithson by constructing an actual “floating island” based on one of his drawings, “Floating Island to Travel Around Manhattan Island.” The constructed island, complete with living trees, was pulled by a tugboat around New York Harbor. The Bruce High Quality Foundation responded to the event with their own performance, titled“The Gate: Not the Idea of the Thing but the Thing Itself,” in which members of the collective pursued the Smithson island in a small skiff carrying a model of one of the orange gates by Christo and Jeanne-Claude that had been displayed in Central Park earlier that year. In 2007, they donned football gear and “tackled” public sculptures. They also produced a film in 2008 in which zombies take over the Guggenheim, and the Bruce High Quality Foundation fights them with the actual art collections (for example, decapitating the zombies with Brancusi sculptures while the art critics hide and cower in the museum’s cafeteria). In 2010, and despite the Bruce High Quality Foundation’s efforts to remain anonymous and iconoclastic, they were included in theWhitney’s 2010 Biennale. We’ll call this the “coming full circle” narrative, from inside the institution (Cooper Union) to its radical Outside and then back in again (the Whitney). Read more
Myra Seaman, Holly Crocker and I are thrilled to announce that postmedieval is launching today our second online, open Crowd Review, of Louise D’Arcens’ special issue on “Comic Medievalisms,” which features the following essays: