Archive for the ‘Personal’ Category

Spanish translation of my Zero Dark Thirty blog entry

Sunday, September 29th, 2013

My blog entry on Zero Dark Thirty has been translated into Spanish, here.


Wednesday, September 11th, 2013

I’ve decided to release a free ebook (a pamphlet, really): TWO ESSAYS ON JERRY LEWIS. The book contains, unsurprisingly, two essays I have recently written on Jerry Lewis. The first essay is about his final self-directed feature film, Smorgasbord (retitled Cracking Up by the distributor). It appeared in the online film journal La furia umana, but it is currently unavailable due to website restructuring. The second essay, “The Jerry Lewis Assemblage,” takes off from a scene in Lewis’ film The Patsy in order to give a more general discussion of the mechanisms of his comedy (and how Lewis provides us with a synthesis of Henri Bergson and Karl Marx). This essay will be appearing in a book on Lewis edited by Toni D’Angela (the editor in chief of La furia umana). I am putting the two essays together here, in the hope that they will be read more widely. Consider it as part of my ongoing effort to help Jerry Lewis — a comedian and filmmaker more recognized in Europe than at home in America — fully gain the recognition he deserves as one of the great artists of world cinema.

The ebook is available for free download:

Accelerationism discussion

Monday, June 24th, 2013

The latest issue of the e-flux online journal is entirely devoted to the question of accelerationism.

A lot has been said about this already, most notably:

But the new issue of e-flux contains 11 articles on accelerationism, including an extremely sour-minded article of mine. But there are also articles by friends and people I admire, including Mark Fisher, Patricia McCormack, Franco “Bifo” Berardi, Alex Williams, and others. 

Some Updates

Thursday, June 6th, 2013

I haven’t had the time recently to post anything on this blog. Which is unfortunate, as I miss writing here. 

But in the meantime, here are a few updates on recent publications and events. 

A short article of mine, originally posted on this blog, has appeared in French translation in the journal Multitudes, issue 51, under the title “Comment traduire une forme de vie ?”. I haven’t managed to find a copy of this yet, but the information on the journal issue is here

Wesleyan University Press has brought back into print a brilliant short novel by Samuel R. Delany, Phallos. The new, enhanced edition of the novel also includes several scholarly essays discussing it, including mine. 

The absolutely indispensible Aqueduct Press has just published Strange Matings, edited by Rebecca J. Holden and Nisi Shawl, a collection of essays on the fiction of the late and much lamented Octavia Butler. An essay of mine is included, together with others much better than mine. Book information is here

And finally, audio is available for the two lectures I recently gave in Dublin at the invitation of DUST (Dublin Unit for Speculative Thought). “Speculative Criteria (a conversation with Paul Ennis)” is available at And “Discognition” is available at , and also as a podcast from the University College Dublin Humanities Institute, and via iTunes (free).

Another interview

Friday, February 22nd, 2013

I am the latest academic to be interviewed on the excellent Canadian website, Figure/Ground Communications. My interview is here. I talk both about my own current research in Whitehead and speculative realism, and in science fiction, and about the current state of academia, at a time when “the university is under threat… from the relentless demands of capital accumulation, which has led to both the defunding of educational institutions, and their instrumentalization and monetization as nothing more than potential sources from which an economic profit may be extracted.”

Tony Scott Project

Monday, December 3rd, 2012

The second half of’s Tony Scott Project is now out, including my contribution.

Melancholia; and film open access scholarship

Thursday, September 6th, 2012

Today marks the inauguration of REFRAME, “an open access academic digital platform for the online practice, publication and curation of internationally produced research and scholarship” on film, media, and music. REFRAME is edited by Catherine Grant, of the School of Media, Film, and Music at the University of Sussex; she also runs the invaluable Film Studies for Free blog.

Among other things, REFRAME is publishing Sequence: Serial Studies in Media, Film, and Music, a new, peer-reviewed open-access scholarly journal.

And I am proud to say that the first issue of Sequence features an article of mine about Lars von Trier’s 2011 film Melancholia, entitled Melancholia, or the Romantic Anti-Sublime”. This is the most sustained work I have done since my 2010 book Post-Cinematic Affect; it is about 18,000 words long — which is too long for a conventional academic article, but too short for a book. I am thrilled, therefore, that it can now be published digitally, as the online format allows for more varied lengths than is possible with conventional print. I am also thrilled that this publication is open access: which is something that, I strongly believe, all academic work should be. In this way, my essay is available to contribute to future work by others, who may respond to it in all sorts of ways.

Just Out: Jerry Lewis in La furia umana

Monday, April 2nd, 2012

The new issue (#12) of the film journal La Furia Umana is out; it’s a special issue on Jerry Lewis! There are 23 articles (!!!) on Jerry, including my new piece on his late masterpiece Smorgasbord (aka Cracking Up). (Besides the Jerry Lewis material, the issue also contains, among other goodies Kim Nicolini on Lars von Trier’s Melancholia, and something I haven’t read yet by the great film critic Nicole Brenez).

UPDATE: Since the pdf available from the Furia Umana site has formatting problems, a  cleaner pdf of my article on Smorgasbord is available here.

In other news, my web posting about “work for hire” has been translated into Haitian Creole by John Obri — for which much thanks.

Work for Hire update

Sunday, January 22nd, 2012

A couple of weeks ago, I mentioned on this blog a situation I was in: that I was unwilling to sign a contract for an essay I had written in contribution an anthology of critical essays from Oxford University Press (OUP), because the contract stipulated that the essay would be regarded as “work for hire.” This would mean that I would have absolutely no rights as the author of the work. Whereas most academic press contracts ask you to sign away certain of your rights, by transferring copyright from yourself to the press, this contract from OUP meant that I would have no rights at all — if I signed, I would be agreeing that (as Gordon Hull put it — see the comments to the previous blog entry) “copyright was never [mine] in the first place — it belonged to OUP from the start.” It is obvious that, were this to become the norm in academic publishing, then intellectual enquiry and academic freedom, as we now know them, would cease to exist. Writers would become “knowledge workers” whose output belonged to the press that published them (or to the university at which they worked, in another variant of the scenario) in the same way that code written on the job at Microsoft, Apple, or Google belongs to those companies, and not to the writers themselves.

Well, the academics who are putting together the volume to which I was supposed to be contributing graciously asked OUP on my behalf about the work for hire provision. The response they got back was that the Press wouldn’t budge on work for hire. I don’t think I have permission to actually reproduce the words of the editor from OUP, so I will paraphrase. What he basically said was that traditional publication agreements are insufficient because they only give presses “limited sets of rights.” In other words, he was openly confessing that OUP seeks complete and unlimited control over the material that they publish. The justification he gave for this was that old neoliberal standby, “flexibility” — OUP is seeking to do all sorts of digital distribution, and if rights are limited then they may not be able to control new forms of distribution that arise due to technological changes. Of course, the mendaciousness of this claim can be seen by the fact that, as was confirmed to me by one of the people involved in putting together the volume, the “work-for-hire” provision was in place long before the Press even got the idea of supplementing physical publication of the volume with a (no doubt password-protected and expensive to acces) website.

Equally alarmingly, the editor said in his email that this “work for hire” provision was now standard practice for the press, at least as regards their very ambitious series of “Handbook” volumes. In other words, OUP is being quite systematic in usurping authors’ rights. If we don’t stop this now, it will become more and more prevalent throughout academic publishing. The volume to which I was supposed to contribute is quite an excellent one, with lots of great articles  (I don’t want to mention its name here so as not to disparage the work of the three academics who put it together).

But I, for one, am determined never to write for Oxford University Press again, unless they eliminate this policy; and I would urge others to refuse to write for them as well. I know that people in less privileged positions than mine are pretty much compelled to sign odious agreements of this sort, because they need the publications for academic credit and recognition, and often specifically for tenure or promotion. So I don’t condemn anyone who does enter into so unfavorable an agreement — rather, I would hope that action by those of us who can afford to take our work elsewhere, or simply make it available for free, will lead to the elimination of such exploitative contracts altogether. I would advise all academic writers to look carefully at their contracts, before they commit themselves.

I will also not be buying any OUP books in the future — which is something of a sacrifice, as they are an important press. [I recently purchased from OUP, at an exorbitant price, the important new book by Stephen Mumford and Rani Lill Anjum, Getting Causes From Powers -- which I hope to write about on this blog or in some other forum soon. Should a future situation of this sort arise, I will just have to bite the bullet and wait until I can get a copy through interlibrary loan. I don't really expect that libraries will stop buying OUP books, and I think the dissemination of scholarship is important, so I cannot really say that I will refuse to read anything, no matter how important, just because it is published by OUP. But I do think buying less from them might have an impact on their profit line, and thus pressure them to cease their unfair practices].

As for my article itself — which is 8500 words long, which contains substantial arguments not found in anything else that I have written, and which cost me two months of my life — I will try to find another venue for it to appear in print. I will eventually make it available for free download from my own website as well (as I have done with most of my writings), but it still seems unfortunately to be the case that academic writings are not taken seriously if they do not have some “official” form of publication.

[This posting has now been translated into Haitian Creole by John Obri -- for which much thanks.]

Work for Hire?

Wednesday, January 11th, 2012

Here we go again. I was asked to sign a contract for an essay I have written, which is scheduled to appear in an edited collection. Let’s leave aside the fact that I wrote the essay — it was solicited for this collection — in summer 2010, and yet it will not appear in print until 2013. I think that the glacial pace of academic publishing is a real problem. But that is not what is bothering me at the moment. The contract that I was asked to sign, so that my essay could appear in an edited volume published by Oxford University Press, contained the following clause:

WORK-FOR-HIRE. The Contributor acknowledges that the Publisher has commissioned the Contribution as a work-for-hire, that the Publisher will be deemed the author of the Contributior as employer-for-hire, and that the copyright in the Contribution will belong to the Publisher during the initial and any renewal or extended period(s) of copyright. To the extent, for any reason, that the Contribution or any portion thereof does not qualify or otherwise fails to be a work-for-hire, theContributor hereby assigns to the Publisher whatever right, title and interest the Contributor would otherwise have in the Contribution throughout the world.

I found this entirely unbelievable, and unacceptable. Since when has original academic writing been classified as “work-for-hire”? It is possible, I suppose, that things like writing encyclopedia essays might be so categorized; but I have never, in my 30 years in academa, encountered a case in which primary scholarship or criticism was so classified. Is this something widespread, but which I simply haven’t heard about? I’d welcome information on this score from people who know more about the academic publishing situation than I do. But it seems to me, at first glance, that the Press is upping the ante in terms of trying to monopolize “intellectual property,” by setting up an arrangement that both cuts off the public from access and denies any rights to the henceforth-proletarianized “knowledge worker” or producer. I am unwilling to countenance such an abridgement of my ability to make the words that I have written more freely available.
In any case, I wrote back to the Press as follows:
I am unwilling to sign the Contributor’s Agreement for my submission to the Oxford Handbook of New Audiovisual Aesthetics as it is currently worded. In particular, I find section 2, defining my contribution as work-for-hire, completely objectionable. I entirely reject the notion that original academic work of this sort can be defined as work-for-hire. I think that this is demeaning to academic scholarship and disrespectful of intellectual labor.

Section 2 of the contract further stipulates that even if “the Contribution or any portion thereof does not qualify or otherwise fails to be a work-for-hire, the Contributor hereby assigns to the Publisher whatever right, title and interest the Contributor would otherwise have in the Contribution throughout the world.” I find this objectionable as well. Even if my contribution to the volume is exempted from being considered work-for-hire, I am unwilling to sign over my own rights to the publisher in this unlimited way. In particular, I insist upon retaining, among other rights, the right to make my contribution available for download on my own website and the right to include this contribution at some later date as part of a self-authored publication. 

I guess we will see what happens. I hope the Press backs down and offers more reasonable terms. If that doesn’t happen, I will simply have to withdraw my contribution from the edited volume. At some point, the essay will appear on my website for free download — whether because the publisher backs down and permits me to do this, or whether I give up on print publication.
Not getting the essay into print will mean that I won’t get the credit (or a line in my Vita) for the publication of an article that I am, in fact, rather proud of. This kind of credit matters in academia — salaries, among other things, are based on it. But as a full Professor with tenure I am in a rather privileged position: I can afford to lose the credit. The same is not the case for academics in more precarious positions — who might well be forced to sign away their rights in cases like this, because their jobs heavily depend upon their publication record, and one additional line on their Vita might make a major difference.