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In: The WISH List
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Sympathetic Sentiments develops an innovative interdisciplinary framework to explore the implications of living in a culture of feeling that seems ill at ease with itself, one in which sentiments are frequently denounced for being sentimental and self-indulgent. These tensions are traced back to the inheritance of the eighteenth century, enabling us to identify a distinctive 'spectacle of sympathy', in which sympathy entails public forms of expression whereby being on show is both a condition of the authenticity of such affects and of their capacity to be masked and simulated. This, John Jervis suggests, is at the root of a range of controversies central to modern life, art and culture, including contemporary debates around trauma and compassion fatigue. Connected to these debates is the issue of modern sensationalism, discussed here and elaborated in a companion volume: Sensational Subjects: The Dramatization of Experience in the Modern World, which is published simultaneously by Bloomsbury.
In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the "unskilled" and the "economically invisible." It is a potentially disruptive archive that capitalism can't always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our "risk society" and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions. The Iron Garters are an "art gang" that masquerades, disseminates and performs as your archetypal "criminals," "outcasts" "mystics," "losers" and "lunatics": in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet's novel The Thief's Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground "kulchurs" and academia's collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a "deathpunk" show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail.
In: The WISH List
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Under what conditions does 'sensation' become 'sensational'? In the early nineteenth century murder was a staple of the sensationalizing popular press and gruesome descriptions were deployed to make a direct impact on the sensations of the reader. By the end of the century, public concern with the thrills, spills, and shocks of modern life was increasingly articulated in the language of sensation. Media sensationalism contributed to this process and magnified its impact, just as sensation was, in turn, taken up by literature, art and film. In the contemporary world the dramatization of these experiences in an era of media panics over terrorism and paedophilia has taken an overtly melodramatic form, in which battles of good and evil play out across the landscapes of our lives. Sensational Subjects develops an innovative, interdisciplinary approach to exploring these themes, their impact and their implications for understanding the modern world. A companion volume, Sympathetic Sentiments: Affect, Emotion and Spectacle in the Modern World is published simultaneously by Bloomsbury.
In: Yale Studies in English
The famous 1893 Chicago World's Fair celebrated the dawn of corporate capitalism and a new Machine Age with an exhibit of the world's largest engine. Yet the noise was so great, visitors ran out of the Machinery Hall to retreat to the peace and quiet of the Japanese pavilion's Buddhist temples and lotus ponds. Thus began over a century of the West's turn toward an Asian aesthetic as an antidote to modern technology. From the turn-of-the-century Columbian Exhibition to the latest Zen-inspired designs of Apple, Inc., R. John Williams charts the history of our embrace of Eastern ideals of beauty to counter our fear of the rise of modern technological systems. In a dazzling work of synthesis, Williams examines Asian influences on book design and department store marketing, the commercial fiction of Jack London, the poetic technique of Ezra Pound, the popularity of Charlie Chan movies, the architecture of Frank Lloyd Wright, and the design of the latest high-tech gadgets. Williams demonstrates how, rather than retreating from modernity, writers, artists, and inventors turned to traditional Eastern technê as a therapeutic means of living with—but never abandoning—Western technology
Genetik und künstliche Befruchtung, Robotik, Implantate und Computertechnologie haben nicht nur in der Science-Fiction Cyborgs, Zombies und Klone hervorgebracht. Auch in der Philosophie und in den Humanwissenschaften hat sich seit einigen Jahren eine lebendige Diskussion über die Grenzen und Möglichkeiten des Menschen angesichts moderner Technologien entwickelt. Rosi Braidotti unternimmt eine faszinierende Tour de Force vom Humanismus zum Zeitalter des Posthumanismus, in das technologischer Fortschritt und Kapitalismus uns katapultiert haben: Der humanistische Mensch - männlich, weiß, rational
In: 0 v. 196
Intro; Title Page; Preface; Acknowledgments; Abbreviations; Introduction: The Scandalous Cross?; Panel One: No Room in the Inn; Chapter 1: Beauty as the Theological Beast?; Chapter 2: Re-form-ing Beauty; The Hinge; Chapter 3: Following a Biblical Trajectory; Panel Two: God's Beauty-in-Act; Chapter 4: The Impassible Suffers as Incarnate Beauty; Chapter 5: Our Dramatic Participation in God's Awful Beauty; Conclusion; Bibliography
Cover; Schopenhauer and the Aesthetic Standpoint; Title; Copyright; Dedication; Contents; Acknowledgements; Introduction; Wonder: a starting point -- a category for investigation?; Chapter 1 A riddle and its answer; The inward turn of philosophy and the metaphysics of the will; Aesthetic contemplation; Chapter 2 Philosophy as: aesthetic; Confronting the fear of death: Schopenhauer's methods in conflict?; The aesthetic standpoint of philosophy; Inward, outward -- forward through rational argument? The "argument from analogy" revisited; Chapter 3 Philosophy as: sublime.
In: Commonalities
Frontmatter -- CONTENTS -- Acknowledgments -- 1 Parabasis (Before the Act) -- 2 Queens and Queers: The Theater of Gender in "America" -- 3 Paradoxes of Visibility in / and Contemporary Identity Politics -- 4 The Ends of an Idiom, or Sexual Difference in Translation -- 5 Roxana's Legacy: Feminism and Capitalism in the West -- Notes -- Works Cited -- Index
In: Urban and landscape perspectives 12
In: New Metaphysics
Object-oriented ontology offers a startlingly fresh way to think about causality that takes into account developments in physics since 1900. Causality, argues, Object Oriented Ontology (OOO), is aesthetic. In this book, Timothy Morton explores what it means to say that a thing has come into being, that it is persisting, and that it has ended. Drawing from examples in physics, biology, ecology, art, literature and music, Morton demonstrates the counterintuitive yet elegant explanatory power of OOO for thinking causality.