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Nassr2014
Nassr2014
Nassr2014
Nassr2014
Nassr2014
Nassr2014
Nassr2014
Nassr2014
Nassr2014
Nassr2014
Nassr2014
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  • 1. @autoblake:! between critical making and! computation @RogerWhitson! #NASSR2014 #RomDH
 07.12.2014
  • 2. Mike Goode. “The Joy of Looking: What Blake’s Pictures Want.” Representations. 119.1 (Summer 2012). 1-36.! “Blake’s audience, especially today, has the tendency to be singularly irreducible to the sum of its groups. It is my conviction that this irreducibility— this delinquent tendency on the part of Blake’s ‘composite art’ to de-compose itself whenever and wherever it finds an audience—can prove critically and politically instructive about what his art meant, or at least could have meant, when it was created.” (5) Andrew M. Cooper, William Blake and the Productions of Time. Burlington: Ashgate, 2013. 
 “[Blake] was driven to this extremity by the revisionary logic of his system, which required that each new poem not only re-perform its predecessor but also itself, such recursion resulting in a baroque ‘late style’ mythology devoted primarily to emergent, fine-grained possibilities of meaning: nuance, not substance (17).
  • 3. Cameron Mozafari, “Designing a Multimodal Reading Space for Coleridge’s Kubla Kahn.” in the essay “Bibliocircuitry and the Design of the Alien Everyday.” Textual Cultures: Texts, Contexts, Interpretation. 8.1 (2013): 72-100.
  • 4. Cameron Mozafari, “Designing a Multimodal Reading Space for Coleridge’s Kubla Kahn.” in the essay “Bibliocircuitry and the Design of the Alien Everyday.” Textual Cultures: Texts, Contexts, Interpretation. 8.1 (2013): 72-100.
  • 5. @RogerWhitson #NASSR2014 #RomDH
 07.12.2014 Thanks!

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