Tweets and memes

Last weekend, I opened a dedicated Twitter account to go with this blog – essentially as a way of informing people that there are new posts. But the involvement of Twitter in the epitextual writings around my book-in-progress, A Certain Gesture: Evnine’s Batman Meme Project and Its Parerga!, also brings to the fore elements of the project that I have long been thinking about.

It came to me, during the heyday of my production of Batman memes in early to mid 2016, that the memes themselves were a little like tweets. That inspired me to make one meme, which I will not display here since I have to hold back a few good ones for the appearance of the book, in which Robin’s text is in the form of a tweet, #s and @s and all.

The resemblances stem from, though exceed, the limits to the amount of text one can use in both. With Twitter, the limit is hard and clear – 140 characters. With memes, the limit is what can be legibly imposed on the image. This is true for all image macro memes, but with Batman Slapping Robin, there is even less space than usual in the image  available for text, if one wants to include all the text in the speech bubbles. I frequently struggled to pare down the text I wanted to use to one I could make legible. A few memes just could not be pared down enough and I had to resort to other measures. In this meme (M.29 “… he was a jew,” published on Facebook on March 7th 2016), I both strained legibility almost to breaking point and overflowed the bounds of the speech bubble:

ulysses-third-version

Continue reading “Tweets and memes”

Repellent intimacy

Gerard Genette (yes, I’m still reading Genette’s Paratexts: Thresholds of Interpretation – it’s endless!) is now discussing the various functions of different kinds of prefaces (all quotations below from pp. 203-5). One function of the most common kind of preface (by the author; published with the text originally) is to explain the unity of the work it stands before. This is especially the case when the work is a collection of some kind. But some authors, he notes, make a point of eschewing the unity of the work and embracing its disunity. Roland Barthes, writing later of his collection Essais critiques, said “I explained in my preface why I didn’t want to give these texts, written at different times, a retrospective unity” but, somewhat contradictorily goes on to say “The unity of this collection can only be a question: What is writing?” As Genette wryly comments: “The retrospective unity that is virtuously shoved out the door sneaks back in through the window in the form of a ‘question’.” (And, talking of Barthes, how brilliantly the lack of punctuation speaks in his title Sade Fourier Loyola, the preface to which “emphasizes indirectly… the incongruous – indeed provocative – appearance of such a grouping.”) More resolutely, Borges, in many of his prefaces, appears to prize diversity over unity: “This book is nothing more than a compilation,” “God grant that the essential monotony of this miscellany… be less evident than the geographical and historical diversity of its themes,” and so on.

I have come to realize that A Certain Gesture: Evnine’s Batman Meme Project and Its Parerga! is about exactly this – privileging disunity and disorganization over their opposites. The Wunderkammer, again: a curious assortment, a serendipity, a heap. But just how far down can disunity go in the book? Continue reading “Repellent intimacy”

…book-ends, or parentheses…

Earlier this summer, I went to meet a distinguished Israeli psychoanalyst, M.. I traveled by train from Herzeliya, where I was staying with my brother, and walked from the station in Tel Aviv to M.’s office, about a mile and a half away. The purpose of my visit was to discuss with M. the possibility of giving a presentation to psychoanalysts in Israel about my book-in-progress, A Certain Gesture: Evnine’s Batman Meme Project and Its Parerga!. The book defies easy description; it is a strange, genre-crossing work that mixes graphic art, self-writing, and philosophy (understood in a very broad sense). I was to explain to him what the connections were between my book and psychoanalysis, connections which I was sure existed and about which I was prepared to talk fluently. M. is a little older than me and of course a very experienced psychoanalyst as well as a very knowledgeable philosopher.

Perhaps you can imagine how this felt. I am myself in analysis and I was acutely aware, as I entered M.’s office, that this was a place where psychoanalysis was conducted. The office was small, but there was the iconic couch in it. And two chairs, into one of which M. ushered me, stating (quite unnecessarily, you can be sure!) that this was the ‘patient’s chair.’ I was petitioning this older man for the chance to address a group of analysts. Petitioning this man who was vastly more knowledgeable about one of the subjects I wanted to speak about than I am; this man who was an analyst, in his own office, while I sat in what we had openly acknowledged was the patient’s place, but who even before entering the office was already investing this meeting with a lot of transferential feelings (as if it were a chance to have a friendly chat with my own analyst). If you guess that these were not propitious circumstances for me, you will not be wrong. Continue reading “…book-ends, or parentheses…”