Hochreiter, Susanne. “‘We Were So Turned On’: Reflections on Queer(ing) Past and Memory.” Sexual Culture in Germany in the 1970s: A Golden Age for Queers?, edited by Janin Afken and Benedikt Wolf, Macmillan Palgrave, 2019, p. 48:
The ghosts that we hear represent what Jacques Derrida referred to as ‘hauntology’ in his Specters of Marx: The term refers to the situation of temporal, historical and ontological disjunction in which the apparent presence of being is replaced by an absent or deferred non-origin, represented by ‘the the figure of the ghost as that which is neither present, nor absent, neither dead nor alive’, as Andrew Gallix puts it (Gallix, 2011). . . . Many or even ‘all forms of representation are ghostly’ as Andrew Gallix puts it in his article: ‘Works of art are haunted, not only by the ideal forms of which they are imperfect instantiations, but also by what escpes representation’ (Gallix, 2011).
[PS I’m afraid the first quote is actually me quoting Colin Davis.]
O’Sullivan, James. Towards a Digital Poetics: Electronic Literature & Literary Games, Palgrave Macmillan, 2019, pp. 11, 12, 25, 104:
“Perhaps e-lit is already dead?” Andrew Gallix once mused (2008). Central to Gallix’s succint and useful account of the field is the idea that electronic literature has been “subsumed into the art world or relegated to the academic margins”, a proposition that I found time to reject the best part of a decade later: in the works of practitioners like Mez Breeze, Andy Campbell, Dan Pinchbeck and his studio, The Chinese Room, we see that electronic literature is finally having its contemporary moment, and that it does have a measure of popular appeal (O’Sullivan 2017) [p.11].
But Gallix has a point, nonetheless, and the great divide has renewed significance [p. 12].
Responding to Andrew Gallix’s challenge that electronic literature sacrifices literary quality . . . [p. 104].
[PS My claim was not that literary quality was being compromised, but that the most interesting examples of digital literature — or so it seemed to me at the time — were morphing into something that was no longer literature at all. This was not a criticism on my part.]
A picture of me (left) and Yannick from 1981 used to illustrate the “British Anarchy” section of Bill Osgerby‘s “The Teenage Revolution” on the Museum of Youth Culture‘s website, April 2020.
A picture of me and my stepdad on holiday in Jersey, July 1981:
Lloyd, Katie. “The Museum of Youth Culture Wants Londoners to Share Pictures of their Awkward Teenage Years.” Time Out, 23 April 2020:
I have reviewed Lars Iyer‘s delightful Nietzsche and the Burbs for The Stinging Fly. You can read it here.
Above all, Art wants the band to play truant by absconding through the gap it has opened up between potentiality and actuality — that rent in the fabric of time. Nietzsche and the Burbs is a paean to those languorous summer afternoons, on the cusp of adulthood, when time stretches to eternity, allowing us to pull ‘moments out of moments like conjuror’s scarves’.