I don’t know much about this Quantified Writer Project, but seeing that it combines two of my favorite things—Arnon Grunberg’s work and neuroscience—I feel like I really should.
Here’s the basic description from Arnon’s website:
Dutch author Arnon Grunberg and his publishing house, Nijgh & Van Ditmar, initiated the formation of a top class research team that will investigate the physiological processes governing the production and perception of art in a unique collaboration between scientists, an artist and the public.
The team plans to take detailed measurements of the brain activity and the physical signals recorded from the author as he writes his new novel. This will take place in New York, where Grunberg lives, starting November 19th and lasting two weeks. The next phase, in the fall of 2014, will be to study members of public (n=~50) reading the new novel in a controlled situation. On top of this, and using a limited set of parameters, the team will study brain activation in several thousand readers.
There is also a LiveStream box on this page, so maybe we’ll all have the chance to watch as Arnon writes? Regardless, this sounds really cool, and I’m very curious about the results. It seems like something could fit right into Jonah Lehrer’s Imagine, but, you know, actually factually accurate. (Yeah, I went there.)
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .