Monday, April 06, 2020
With All the Great Reviews of Fanny Daubigny's PROUST IN BLACK Rolling In, Isn't it Time You Got a Copy of Your Own!?
Glossy Full Color Limited Edition | Regular Full Color Edition
#proust #proustinblack #marcelproust @goodreads #review @SDSUPress @Daily_Proust @_Marcel_Proust_ pic.twitter.com/zLeh7dyBYW— Fanny Daubigny (@DaubignyFanny) April 6, 2020
Poetics and Visuality: A trajectory of contemporary Brazilian poetryDescription
Philadelpho Menezes's Poetics & Visuality offers an account of the development of extreme poetic practices in a country known for its commitment to experimentation. This richly illustrated history begins with spatialism, to which concretism comes as a corrective ordering in the early 1950s. The "visual poetry" of the last decades is cogently theorized as inter sign poetry (collage, package, montage poetries), a movement that has drawn international attention.
Information from within
The goal of this study is to furnish a theoretical framework for reflections on the pathways taken by experimental poetry in Brazil. At the same time, I hope to suggest that these increasingly intricate formulations might map out their own zone, thereby allowing the method herein elaborated to be applied to other kinds of cultural experimentation. The reader of poetry today all too frequently is confused by a body of material that seems to be little more than a collection of formal exercises that take their origins ex nihilo. I will try to undo this error by showing the inverse: in the apparent chaos of avant-garde Brazilian poetry, there is a backbone that structures a trajectory in the direction of an incorporation of visuality in the poem, a depositing of the poetic function in the visual image.
Friday, April 03, 2020
An Interview with Dr. Alvaro Huerta: Reframing the Latino Immigration Debate: Towards a Humanistic Paradigm, San Diego State University Press
Dr. Alvaro Huerta authored the newest title to our SDSU Press collection, Reframing the Latino Immigration Debate: Toward a Humanistic Paradigm. Dr. Huerta holds a B.A. (history) and M.A. (urban planning) from UCLA. Also, he holds a Ph.D. (city and regional planning) from UC Berkeley. He is currently conducting interdisciplinary work in the UCLA Chicano Chicana Studies program for top scholarly journals through the studies of urban planning / community development, civic engagement / community organizing, immigration, Chicana/o--Latina/o studies / history, social network analysis; the informal economy. This interview took place over email on the anniversary of the "Chicano Moratorium," August 29, and was preceded by a phone interview.
When did you start writing? Why?
|Photograph by Antonio Turok, click to enlarge|
If you want to learn more about Dr. Alvaro Huerta and his work visit his site:
Thursday, April 02, 2020
Naief Yehya's DRONE VISIONS! On Sale Now! Cutting Edge Cultural Studies Focused on Surveillance, Drone Culture, and Remote Control Death and Destruction in Science Fiction Cinema
Who knows what developments in drone technology are taking place as we attend to our day to day pandemic panic!? @nyehya, Naief Yehya does! Check out his new book DRONE VISIONS Direct book purchase link: https://t.co/9Wnl5nqOqF@nyehya interview https://t.co/cRjgLi8SzF pic.twitter.com/EW1RXfFage— San Diego State University Press (@SDSUPress) April 2, 2020
Sunday, March 29, 2020
A New Book From Hyperbole Books, An SDSU Press Imprint: Naief Yehya Interview on Drone Visions: A Brief Cyberpunk History of Killing Machines
In celebration of Naief Yehya's new book Drone Visions: A Brief Cyberpunk History of Killing Machines, Kaylee Arca interviewed Yehya on cyberpunk, technology and inspiration. Buy a copy here.
|click to enlarge|
Naief Yehya: When cyberpunk appeared, it was perceived as an anarchic and liberating force. It was a mix of the technological and the biological, energized by the rebel spirit of punk music, a universe of hybrid beings capable of throwing the world off balance. It was an appropriation of technology by “the street,” imagined as an empowering strategy that consisted in taking technological tools from corporations and governments, improving them, using them for the common good and empowering the imagination. But eventually the trend was inverted and what had been retrofitted and redesigned to be used by the people was retaken and recycled by industry and the military. This applies mostly to software, but it happened all over the technological landscape. I believe that movies and other popular culture artifacts that belonged to that subgenre of science fiction became very relevant in the way we adopted new technologies. Cyberpunk made high tech sexy and brought it to the masses. Suddenly we were surrounded by innovative communication devices, cyborgs, computers, screens everywhere and all kinds of gadgets but also by weapons and killing machines capable, at least in theory, of choosing their targets.
|Drone Visions' back cover: Click to enlarge|
NY: I became really interested in missiles and this kind of weaponry during the first Gulf War. Especially, I found myself concerned and terrified by the missile-camera that the USA used against certain targets in Iraq. It was in part a propaganda campaign to prove the smartness of its bombs. These devices turned the war into a spectacle, entertainment pretending to be information. The idea of being able to see the path of the missile all the way to the point of impact and witness, in a flash, the destruction of the lenses, thecamera, the bomb and the building was a reminder of the pornographic image syntax:the obsession of showing the unshowable, a penetrating gaze that tries to reveal more and more, and of the money shot, the external sperm shot that validates the porn narrative.The war drone takes this logic a step further by becoming, in the imagination of politicians and military strategist, an all-seeing eye, an indefatigable, persistent, patient, Never-blinking spying device and precise enforcer. The use of this machine in the theatre of war has been portrayed as prodigious, infallible and a lifesaving resource for the military in a series of never-ending wars. I’m terrified and fascinated by these deadly machines and the way they have been normalized, standardized and accepted as the humanitarian option in war.
KA: Do you have experience with the weapons you discuss?
NY: No, just from my research. I don’t like weapons. I like studying them and their psychological, cultural, moral, economic, political impact.
|Page spread from Drone Visions--more below, all are large/high res clickable images|
Enormously. Since I discovered cyberpunk, my work shifted permanently. I received a degree in industrial engineering and have always been fascinated by machinery. So,when I found out that you could actually write about technology and think about The implications of our relationship to gadgets and machines, particularly intelligent machines,I knew I had found my calling. Since then, I have written about cyborgs, pornography, war, the internet and the media sphere from the point of view of how we engage with the technologies that made those phenomena possible. During the 90s these topics were considered unworthy by most of my colleagues, there were not literary enough, too niche and morbid. But now we live in a highly technological time and, in one way or another, we’re all immersed in a techno culture.
KA: How did you choose Mad Max, Alien, Blade Runner and The Terminator to examine?
I believe that those films are the canon of cyberpunk. Besides being extraordinary films that were ahead of their time, they were viewed as genre entertainment when in fact they were fascinating masterpieces that spoke about the human condition at a time of fundamental transition. Just like John Ford's westerns showed the transformation of society in a new world when the wild west “opened,” these movies reflected on the inevitable changes to the Human condition at a time when technology was redefining the boundaries of the biological and the mechanical, the evolved and the manufactured, and the appearance of cyberspace. All these films —which started before the massification of the internet, cell phones and the digitization of everything— have sequels, some even have prequels and reboots, and I believe these serials have been amazing at keeping track of the changes that our technologies and dreams of technology have brought. I try to prove in the book that even the lesser products from these franchises and films derived from them are revealing in many ways.
KA: How is Drone Visions different from your other published works?
The main difference is that Drone Visions was going to be a part of another book thatI have almost finished and which is a more straightforward history of the war drone.The part of that book devoted to the cultural history of the drone became too voluminous and eventually it became evident that it was a book in itself which gave birth to Drone Visions as an independent project. Technology changes quickly and continuously, making the research and writing process very challenging. And it was difficult to have access to military sources.
KA: What was your writing process for Drone Visions?
It took me a long time. I have written extensively about the cyberpunk canon. I wanted to write about how the technological dystopias in these films merged and the way that these ideas have entered the mainstream. I was particularly interested in understanding how some ideas in these films became part of our techno cultural zeitgeist, the most relevant one of those ideas being the notion of the killing robot or artificial intelligence playing the role of executioner.
KA: Do you think films and video games will continue to change future war technologies?
Definitely. In ways that we cannot even fathom at this time. It’s clear that drone Technology was heavily influenced by video games and films. Now they are unavoidably linked and, as the nature of digital entertainment evolves, its military counterpart will do the same.
KA: Do you think technology has created a cultural desensitization to violence? What is technology's role in desensitization?
Yes, in general, I think that is true. Digital entertainment has made violence extremely appealing, interactive and fun. The abundance of cameras makes it possible for everything to be recorded and eventually broadcasted, the beautiful and the atrocious alike. Special effects and imaging technologies allow for the creation of almost anything imaginable. We have been over exposed to all sorts of violence, brutality and extreme practices in every domain. There are very few things that can shock us now for a prolonged period. Nevertheless, there is a constant search for new technological thrills, it’s part of our nature and the way we are wired. The military drone offers a very special paradigm, by showing scenes happening in real time on the other side of the world as if they were right in front of the viewer. At the same time, these scenes could be imagined as unreal, scenarios of a video game. The viewer can perceive these human beings as playthings to be eliminated in some perverse game. At the same time, drone pilots and operators, in a way, become intimate with the people they spy on, following them for days or weeks, becoming familiar with their world, their everyday lives and, eventually, may receive the order to blow them to pieces. So, in a way, we are becoming more desensitized to violence but also our relationship with what we see on the screen is complex and unpredictable. By turning human hunting into a regular, daily nine to five job, made possible by this peculiar way of telecommuting to war zones and to “suspect hunting grounds” in peace zones, we are creating an unprecedented dilemma. Killing by remote viewing and digital representations is without any doubt one of the most extreme and desensitizing activities we can perform.
KA: What do you think are the most impactful changes on technologies caused by films and video games?
Just as many aesthetic choices in films like 2001: A Space Odysseyinfluenced space programs, and design in a great number of areas. Blade Runner and the rest of the sci-fi films I’ve written about have been a major influence in the minds of programmers, engineers, artists and designers who have created most of the gadgets that are part of our lives today. Nobody really imagined 30 years ago that everyone was going to have a powerful portable computer and an amazing communication and entertainment device in their pocket, or that we would become inseparable to our gadgets. It would be hard to find specific movies or games that were responsible for those huge changes in the way we use and relate to technologies. Killing human beings with joysticks is still a morbid irony difficult to accept.
Advance word on Naief Yehya's Drone Visions:
More on the author:
Friday, March 27, 2020
We are back ONLINE through our Amazon sales portal--all 170+ SDSU PRESS titles on sale; shipment will be a tad slower but it should get there within the guaranteed shipment windows!— San Diego State University Press (@SDSUPress) March 27, 2020
First book back!? @nyehya's DRONE VISIONS--> https://t.co/7XUQPCjKGS pic.twitter.com/3oMz8AKvm4
Tuesday, March 24, 2020
Bohemia in Southern California, edited and with an essay by Jay Ruby, is a critical anthology (and photo album) that explores alternative life styles and artistic endeavors of Bohemians of all stripes in the Southland. Taken collectively, they suggest that when la vie bohéme arrived in the land of sunshine, a unique way of being unconventional was created. The classical Western bohemias of Paris, New York’s Greenwich Village, and the North Beach community of San Francisco were complemented by a rich flowering of individual and group experiments in creative living and the production of art. The fully illustrated book contains essays by scholars in literature, cultural studies, anthropology, librarianship, the book arts, history, psychoanalysis, the performing arts, and others that provide a uniquely multidisciplinary approach.
This captivating and wide-ranging volume takes readers on a compelling tour, from the Arroyo Seco and Edendale communities, earlier in the twentieth century, to the beach communities of Malibu; from coffeehouse culture, surfer enclaves, and 1960s counterculture to the explosion of artistic and bohemian scenes several decades later in Venice, Laurel Canyon, downtown Los Angeles, and the Santa Barbara hillsides.
Sunday, March 22, 2020
@SDSUPress is excited to announce that our instant cultural studies classic, DRONE VISIONS, by @nyehya, is NOW AVAILABLE as a digital download on Kindle! This is an experiment necessitated by the shutdown of SDSU owing to the Coronavirus crisis!
Thursday, March 19, 2020
The SDSU Press
Wednesday, March 18, 2020
Presenting a Limited Edition SDSU Press Book, Laughing Matters: Conversations on Humor from Aldama and Stavans
Laughing Matters: Conversations on Humor (Special Limited-Edition Paperback)
Do you dig humor, comedy, critical theory, literary criticism, philosophy, television, and mass media studies all wrapped up together? Then LAUGHING MATTERS by Latino scholar/writers/artists ILAN STAVANS and FREDERICK ALDAMA is the book for you!
About the Author's
llan Stavans has taught courses on a wide array of topics such as Spanglish, Jorge Luis Borges, Shakespeare in prison, modern American poetry, Latin music, Don Quixote, Gabriel García Márquez, Modernismo, popular culture in Hispanic America, world Jewish writers, the cultural history of the Spanish language, Pablo Neruda, the history of the Spanish language, Isaac Bashevis Singer, Sor Juana Inés de la Cruz, Yiddish literature, Jewish-Hispanic relations, cinema, Latin American art, and U.S.-Latino culture.
Thursday, March 05, 2020
Wednesday, March 04, 2020
SDSU Press Event in Collaboration with MALAS, the Master of Arts in Liberal Arts and Sciences Program at SDSU | A Lecture on Daniel Olivas's THINGS WE DO NOT TALK ABOUT
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We need to talk about Daniel A. Olivas’s “Things We Do Not Talk About.” Join the #sdsupress family at Dr. William Anthony Nericcio’s lecture on “Latinx Spirituality in the Age of Hate” or click on the link in the bio for more! 🗣📖
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Tuesday, March 03, 2020
By Madison Cappuccio
From Bodies Beyond Borders: Dance on the U.S./Mexico Border
If you were asked to describe a dancer, what kind of person would you describe? Athletic? Graceful, perhaps? These descriptions are certainly valid but now is the time to challenge how we interpret dancing and it's impact on culture. In Bodies Beyond Borders: Dance on the U.S./Mexico Border, readers will ultimately examine the relationship between dance and language.
|Pilar Medina. (Rocío Alejandra)|
Dancers are storytellers. In the absence of words, crafted choreography is utilized to tell stories of life. Dancing depicts the innermost intricacies of the human body, mind, and spirit.
Take a look at the facial expression of the dancer to the left-what do you see? More importantly, what does she make you feel?
|Ballet Cámara de la Frontera. (Arturo Casillas)|
|Taller Coreográfico de la UABC. (Arturo Casillas)|
Sequences of steps are employed to create a sense of surrealism. Dancers evoke emotion by use of motion to reflect reality. In some cases, dancers offer a temporary escape from reality.
These "promoters of culture" defy societal boundaries by expressing their identity through the performing arts. In Patricia Cardona's essay, "Something More Than Reptiles and Thistles" she describes dancers best: "They are like drops of water whose sound is still there, still in the spirits, still in the feelings of the inhabitants." Revolutionize the way you interpret dance by dancing your way through Bodies Beyond Borders here.
Thursday, February 27, 2020
Psychoanalyze With SDSU Press’ "Psychoanalysis on the Couch" Series and Lectures by Ralph R Greenson
|Ralph R. Greenson|
What if, however, you could learn psychoanalytic techniques for as little as $20.
With just one book from SDSU Press's series, Techniques and Practices on Psychoanalysis from the lectures of Ralph R. Greenson (edited by Harry Polkinhorn), you can pull out psychoanalytic techniques that you friends will totally love. Who doesn't want to have a free therapy session?
|http://bit.ly/rgreenson (GET A COPY HERE)|
The series offers inside transcriptions of Greenson's lectures, and is a deep dive into techniques that a skilled analyst may use.
It also, obviously, is not a replacement for actually going to school for psychoanalysis, but Greensons diverse manuals do offer an intriguing read and a fun new skill to hone.