language as signifying otherness.

traces of fascism:art, truth, and their commerce

boyscout

“While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth.” – Susan Sontag (6)

“The very ‘truthfulness’ of the new medium encouraged its deliberate use as a means of propaganda. The Nazis were among the first to use systematic photographic propaganda.” – John Berger (49)

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“manifesto of the futurist woman”

note: this is a public-domain article that i’ve resurrected from a now-dead site via the wayback machine. you can view the cached version of the original site here. to make this article “come back,” though, i’ve reposted the text on my blog. enjoy.

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Illuminated by The Spectacle

By incorporating elements of the dérive and détournement as well as Steve Mann’s use of sousveillance we have managed

to spark the aforementioned irrevolution by playing with not fighting against the all-knowing spectacle. We’ve managed to

subvert without making it obvious, without bringing too much attention to ourselves or our mission. Our message and our

goal in this project has been made purposefully unclear. We are motivated by ambivalence, not a deep desire to overthrow

the state and its repressive apparatuses. We simply wanted to showcase the spectacle, to interact with it and to outline

indirectly just how much of our lives is dominated by it. By doing so we’ve managed to alter how we relate to the

spectacle. By bringing attention to capitalism’s social stronghold, by playing with its structures and its systems of

oppression (especially surveillance cameras) we’ve unlocked a great deal of the spectacle’s mystery. We’re not trying to

excite people’s emotions, or spark an overnight coup of the oppressive spectacle, instead we’ve chosen to take a more

simplistic, realistic approach; we’ve chosen to reaffirm our freedom, to remind ourselves that the spectacle is not natural,

but a creation of man. From this understanding we can more easily recognize humanity’s innate ability to change .

Baby steps…baby steps.

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of the Wiki.

this is my brief thought on wikipedia. as someone who reads an almost ungodly amount of it, I think that I am distinctly more qualified to comment on it than any random sampling. such as that one study which I can’t be bothered to find a link to now.

Jaron Lanier says that “reading a Wikipedia entry is like reading the bible closely. There are faint traces of the voices of various anonymous authors and editors, though it is impossible to be sure.” It’s true, in its way. Wikipedia is tremendously wrong. It’s got tons of factual mistakes. One time, I opened a page, and was greeted with an enormous close-up of a penis. Other times, huge chunks of articles have been cut off. But I’ve just fixed those problems and gone along my way. In other cases, articles are something that’s not quite ‘wrong.’ Just, odd. And serendipitous, and un-encyclopedic. Like this one.

It reads like something you would hear in a bad police movie, not the encyclopedia Britannica. Maybe it was copied directly out of something ordered from the back of Soldier of Fortune. Who knows. Is it wrong? I’m not sure. Will I ever be fighting a ‘close quarters battle?’ Doubtful. But does it give me a very intriguing perspective on a whole little subset of society and its discourse? Of course it does. Pages like that one make wiki fantastic. You can read into a little slice of a culture very different from yours, and learn a whole bunch of stuff about entire disciplines you once knew nothing of. With one or two clicks. From a firefox panel, even. So Jaron misses the point, and so do the Britannica-study guys.

Cory Doctorow says it much better than I could here. In an extended blog-style quote:

Wikipedia isn’t great because it’s like the Britannica. The Britannica is great at being authoritative, edited, expensive, and monolithic. Wikipedia is great at being free, brawling, universal, and instantaneous.

Wikipedia entries are nothing but the emergent effect of all the angry thrashing going on below the surface…if you want to really navigate the truth via Wikipedia, you have to dig into those “history” and “discuss” pages hanging off of every entry. That’s where the real action is, the tidily organized palimpsest of the flamewar that lurks beneath any definition of “truth.”

The Britannica tells you what dead white men agreed upon, Wikipedia tells you what live Internet users are fighting over.

So, Wikipedia gets it wrong. Britannica gets it wrong, too. The important thing about systems isn’t how they work, it’s how they fail. Fixing a Wikipedia article is simple. Participating in the brawl takes more effort, but then, that’s the price you pay for truth, and it’s still cheaper than starting up your own Britannica.

Fantastic.

Es muss sein.

towards a postmodern situationism: an irrevolutionary manifesto

 

“The reality shows are only side-effects, and moreover mystifying, because in indicting them as manipulation, the critics assume that there is somewhere an original form of life … This criticism is over, as is every Situationist criticism of the ’spectacle’ and the concept of ’spectacle,’ as also in substance all criticism of ‘alienation.’ Unfortunately, I would add. Because the human abstraction of the spectacle was never hopeless; it always offered the chance of disalienation. Whereas the operation of the world in real time, its unconditional realisation, is really without alternative. Radicality has changed, and all negative criticism, surviving itself, actually helps its object to survive.” – Baudrillard, “Aesthetic Illusion and Virtual Reality”

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reality television and the Holy Roman Empire.

Voltaire once commented that the Holy Roman Empire — now known as more-or-less Germany — was “neither Holy, nor Roman, nor an Empire.”

How is this the case? Well, this might have been the first recorded and recognized instance of the Big Lie technique of propaganda, wherein an enormous lie is passed off as truth, to blind the receiver to its falsehood, and the myriad smaller falsehoods that surround it. As the most infamous propagandist of the twentieth century remarked: “in the big lie there is always a certain force of credibility; because the broad masses of a nation are always more easily corrupted in the deeper strata of their emotional nature than consciously or voluntarily; and thus in the primitive simplicity of their minds they more readily fall victims to the big lie than the small lie, since they themselves often tell small lies in little matters but would be ashamed to resort to large-scale falsehoods. It would never come into their heads to fabricate colossal untruths, and they would not believe that others could have the impudence to distort the truth so infamously” (Hitler 134).

In the case of the Holy Roman Empire, then, its name is clearly designed to surreptitiously contain a normative judgment. The citizen of the medieval era (who did not happen to be Voltaire) would be apt as not to assume that this Empire was both Holy and Roman; how could one lie in the name of a place itself? Since in our daily lived experiences we have no reason to question the honesty of naming, why should we assume that the name of a concept is not a faithful description?

What could this medieval political entity possibly have to tell us about reality television, though?

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temporal and spatial compression.

this is for another class; I am posting this on here for the sake of convenience when giving a seminar this week.

these are ads showing the rhetoric of time/space compression as presented by telecommunications companies. they are somewhat relevant to this class as well!

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of a spectacular society: surveillance, exhibitionism, and scopophilia

Modern society, particularly modern American society, is endlessly patting itself on the back. It thinks of itself as a spectacular society, a fantastic society which is more or less the most fantastic place which there is or ever has been on Earth to make one’s home. These things are partly true. What does it mean, though, that these are the adjectives which we employ to denote ‘goodness’? Why is it that we consider ’spectacular’ and ‘fantastic’ to be synonymous with “good,” indeed, to be the superlative forms of ‘goodness’? Is it not the case that they mean simply, “in the manner of a spectacle” or a “fantasy”, respectively? Indeed, this is the case — and this is why we believe these terms to denote positive attributes. In a society enthralled by an endless parade of spectacles, to be considered spectacular, is the highest of compliments. As Guy Debord writes:

“The spectacle presents itself as something enormously positive, indisputable and inaccessible. It says nothing more than ‘that which appears is good, that which is good appears.’ The attitude which it demands in principle is passive acceptance, which in fact it already obtained by its manner of appearing without reply, by its monopoly of appearance” (12).

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‘indirect light’ and the extension of visibility.

One of the most mysterious and wonderful things about physics for me is the ‘electromagnetic spectrum.’ I’ve always been fascinated by the idea that this huge spectrum of divergent phenomena — the light we see, the radio we hear, the TV we watch, the magnetism we feel, the microwaves that cook our food, et cetera — are all manifestations of the same physical process. What would it be like if we could ’see’ all of these waves in the same way that we can see visible light? After all, particularly in Western society, the air which surrounds us is literally humming (well, maybe not literally, but doing something) with electromagnetic radiation, both naturally-occurring and artificially-created. The wireless internet on our laptop computers, our cellular phones, the satellites which transmit news across continents, the navigation systems that guide us through unfamiliar territory – all of these technologies communicate by the invisible oscillations of subatomic particles.

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