See the attached image for details about upcoming readings! If you are interested in having me read or perform from any of my projects please contact me at atucker[at]ryerson[dot]ca.
Y: Oppenheimer, Horseman of Los Alamos
J. Robert Oppenheimer: reluctant father of the atomic bomb, enthusiastic lover of books, devoted husband and philanderer. Engaging with the books he voraciously read, and especially the Bhagavad Gita, his moral compass, this lyrical novel takes us through his story, from his tumultuous youth to his marriage with a radical communist and the two secret, consuming affairs he carried on, all the while bringing us deep inside the mind of the man behind the Manhattan Project. With the stunning backdrop of Los Alamos, New Mexico, Oppenheimer’s spiritual home, and using progressively shorter chapters that shape into an inward spiral, Y brings us deep inside the passions and moral qualms of this man with pacifist, communist leanings as he created and tested the world’s first weapon of mass destruction ? and, in the process, changed the world we live in immeasurably. You can preorder on the site!
Fall 2017 was a busy season for me! I launched two books! The first, irresponsible mediums is based on The Chessbard, an app that translates chess games into poems. The text translates all of Marcel Duchamp’s chess games into poems and includes an introduction from former two-time U.S. Women’s Chess Champion Jennifer Shahade.
I also launched Virtual Weaponry: The Militarized Internet in Hollywood War Films. This book examines the convergent paths of the Internet and the American military, interweaving a history of the militarized Internet with analysis of a number of popular Hollywood movies in order to track how the introduction of the Internet into the war film has changed the genre, and how the movies often function as one part of the larger Military-Industrial- Media-Entertainment Network and the Total War Machine. The book catalogues and analyzes representations of a militarized Internet in popular Hollywood cinema, arguing that such illustrations of digitally networked technologies promotes an unhealthy transhumanism that weaponizes the relationships between the biological and technological aspects of that audience, while also hierarchically placing the “human” components at the top. Such filmmaking and movie-watching should be replaced with a critical posthumanism that challenges the relationships between the audience and their technologies, in addition to providing critical tools that can be applied to understanding and potentially resist modern warfare.