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Karen Barad’s Meeting the Universe Halfway relies on mutually incompatible grounding gestures, one of which describes the relationality of an always already material-discursive reality, while the o...

Study Design A controlled laboratory study, with a single-blind, block-randomization crossover design. Objectives To compare the electrically elicited knee extensor torque produced by 3 clinically available waveforms: 2500-Hz burst-modulated alternating current (BMAC), 1000-Hz BMAC, and 1000-Hz burst-modulated biphasic square-wave pulsed current (BMBPC). Background Neuromuscular electrical stimulation (NMES) is the therapeutic use of electrical current to strengthen muscle. Muscle torque produced by NMES is limited by discomfort. Methods The knee extensor maximal volitional isometric torque (KEMVIT) of 33 able-bodied participants (18 female) was measured and used to normalize the electrically elicited knee extensor torque to produce a percent of KEMVIT (%KEMVIT). Electrically elicited isometric knee extensor torque was measured in response to each of the waveforms at the participants' maximum tolerance. Results The average maximum tolerated stimulation produced 32.0 ± 16.7 %KEMVIT with 2500-Hz BMAC, 38.2 ± 18.4 %KEMVIT with 1000-Hz BMAC, and 42.2 ± 17.1 %KEMVIT with 1000-Hz BMBPC. Tukey honest significant difference (HSD) post hoc testing revealed a statistically significant difference between 2500-Hz BMAC and 1000-Hz BMAC (P = .046), and between 2500-Hz BMAC and 1000-Hz BMBPC (P.001). No statistically significant difference was found between 1000-Hz BMAC and 1000-Hz BMBPC (P = .267). Conclusion For eliciting maximum knee extensor muscle torque, 1000-Hz BMBPC and 1000-Hz BMAC were similarly effective, and 2500-Hz BMAC was less effective. J Orthop Sports Phys Ther 2018;48(3):217-224. Epub 19 Dec 2017. doi:10.2519/jospt.2018.7601.

The foundational gesture of New Materialism and Speculative Realism dismisses vast swaths of past philosophy and theory in order to signify their own avant-garde status. The violence of this gesture, which tries to corral difference within past texts in order to feign its own purity, can be considered as a theoretical quarantine. Examples of medical and spiritual quarantine, the 2014 ebola epidemic and Jesus’ temptation, are analyzed to show that the figure is inherently compromised – the harder one fights to keep the other away, the more one becomes inseparable from it. Derrida's reflections on the reactions against deconstruction show that this desire for progress is always inherently conservative; Meillassoux and Jane Bennett are considered as contemporary examples. A deconstruction of corralation and the academico-capitalist forces driving these ‘innovations’ might open us to reading the never-simply-past text, and to the possibility of the event.

This essay deconstructs Jane Bennett’s and Erwin Schrödinger’s theories of life to demonstrate the untenability of defining life on the basis of either identity (relation to self) or difference (relation to other). Because the living thing is undecidably self and other, its traditional bond to the self-relation of teleology is untenable. Yet relinquishing this trait leaves life indistinguishable from its many inorganic and technical others. Biodeconstruction treats organism, organ, and parasite (part and whole, self and other) as undecidable. Finally, it critiques as metaphysical humanism Bernard Stiegler’s attempt to define a negentropy specific to humanity.

Misreadings of Derrida's Of Grammatology were prevalent from the time of its debut (Foucault, Deleuze and Guattari), up to the present day (Speculative Realism and New Materialism). For fifty years, Derrida's generalised textuality has been misread as though he meant there was nothing outside text in the traditional sense. This misreading always serves to re-institute notions of linear temporal progress, either among self-styled avant-garde authors who would like to break with past traditions, or among self-styled conservatives who hope to repeat them. If the binaries that divide these works from past texts are undecidable, the ground for such temporal progress disappears, along with the divisions by which we create linear narratives of history. The misreading of Derrida is an attempt to exorcise this undecidability and regain the intellectual and market value of novelty or repetition.

Tar for Mortar offers an in-depth exploration of one of literature’s greatest tricksters, Jorge Luis Borges. His short story “The Library of Babel” is a signature examplar of this playfulness, though not merely for the inverted world it imagines, where a library thought to contain all possible permutations of all letters and words and books is plumbed by pious librarians looking for divinely pre-fabricated truths. One must grapple as well with the irony of Borges’s narration, which undermines at every turn its narrator’s claims of the library’s universality, including the very possibility of exhausting meaning through combinatory processing. Borges directed readers to his non-fiction to discover the true author of the idea of the universal library. But his supposedly historical essays are notoriously riddled with false references and self-contradictions. Whether in truth or in fiction, Borges never reaches a stable conclusion about the atomic premises of the universal library — is it possible to find a character set capable of expressing all possible meaning, or do these letters, like his stories and essays, divide from themselves in a restless incompletion? While many readers of Borges see him as presaging our digital technologies, they often give too much credit to our inventions in doing so. Those who elide the necessary incompletion of the Library of Babel compare it to the Internet on the assumption that both are total archives of all possible thought and expression. Though Borges’s imaginings lend themselves to digital creativity (libraryofbabel.info is certainly evidence of this), they do so by showing the necessary incompleteness of every totalizing project, no matter how technologically refined. Ultimately, Basile nudges readers toward the idea that a fictional/imaginary exposition can hold a certain power over technology