Technological infrastructure that shapes our identity

Marius Constantin Cucu and Oana Elena Lenta (Stefan cel Mare): Philosophical Pragmatism in the Digital Era. Tim Jacquemard, Alan F. Smeaton, and Bert Gordijn (DCU): Lifelogs and Autonomy. David Roberts on how the personal (technology) is political. Juli L. Gittinger (McGill): Is There Such a Thing as “Cyberimperialism”? Rex Troumbley (Hawaii): Empire Building for a New Digital Age. Xanadu as phalanstery: Rob Lucas reviews Who Owns the Future? by Jaron Lanier. Guy Patrick Cunningham

Paper Trail

Amazon’s bad third-quarter earnings report prompted the price of its shares to fall by 10 percent. The conservative writer Ross Douthat apologized for attending a fundraiser in support of the Alliance Defending Freedom, a nonprofit opposed to gay rights. Douthat said that he was “not aware” that the event was a fundraiser for the group;



Michael Barron"Writing about music," the saying goes, "is like dancing about architecture." If it's meant to dissuade, the warning has gone unheeded: Over the years, a number of novels about music have ingeniously

Daily Review


For all its advantages, fiction must cede ground when it comes to capturing the contemporary idiom. A great story collection, and Justin Taylor's Flings is a great story collection, swoops through the world like a butterfly net capturing not only the way we speak but the way we think.


Eula Biss

As Eula Biss began investigating immunity and public health, her interest moved from the question of fear to the question of how to move past it, and into a discussion of social ethics and care: What does an individual body—scared or not—owe the collective body?


Film as Film: The Collected Writings of Gregory J. Markopoulos

Rebekah Rutkoff

A key figure in the New American Cinema of the 1960s, Gregory J.Markopoulos made ambitious films starting in the late ’40s, complex psychodramas and romantic meditations that used symbolic color and rapid montage. For Markopoulos, the delicate and, in his words, “divine” potential of film was too easily damaged when the artist ceded screening responsibility to curators and institutions with their own priorities, both financial and