Dave Boothroyd
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719055980
- eISBN:
- 9781781700921
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719055980.001.0001
- Subject:
- Society and Culture, Media Studies
Never has a reconsideration of the place of drugs in our culture been more urgent than it is today. Drugs are seen as both panaceas and panapathogens, and the apparent irreconcilability of these ...
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Never has a reconsideration of the place of drugs in our culture been more urgent than it is today. Drugs are seen as both panaceas and panapathogens, and the apparent irreconcilability of these alternatives lies at the heart of the cultural crises they are perceived to engender. Yet the meanings attached to drugs are always a function of the places they come to occupy in culture. This book investigates the resources for a re-evaluation of the drugs and culture relation in several key areas of twentieth-century cultural and philosophical theory. Addressing themes such as the nature of consciousness, language and the body, alienation, selfhood, the image and virtuality, the nature/culture dyad and everyday life – as these are expressed in the work of such key figures as Freud, Benjamin, Sartre, Derrida, Foucault and Deleuze – it argues that the ideas and concepts by which modernity has attained its measure of self-understanding are themselves, in various ways, the products of encounters with drugs and their effects. In each case, the reader is directed to the points at which drugs figure in the formulations of ‘high theory’, and it is revealed how such thinking is never itself a drug-free zone. Consequently, there is no ground on which to distinguish ‘culture’ from ‘drug culture’ in the first place.Less
Never has a reconsideration of the place of drugs in our culture been more urgent than it is today. Drugs are seen as both panaceas and panapathogens, and the apparent irreconcilability of these alternatives lies at the heart of the cultural crises they are perceived to engender. Yet the meanings attached to drugs are always a function of the places they come to occupy in culture. This book investigates the resources for a re-evaluation of the drugs and culture relation in several key areas of twentieth-century cultural and philosophical theory. Addressing themes such as the nature of consciousness, language and the body, alienation, selfhood, the image and virtuality, the nature/culture dyad and everyday life – as these are expressed in the work of such key figures as Freud, Benjamin, Sartre, Derrida, Foucault and Deleuze – it argues that the ideas and concepts by which modernity has attained its measure of self-understanding are themselves, in various ways, the products of encounters with drugs and their effects. In each case, the reader is directed to the points at which drugs figure in the formulations of ‘high theory’, and it is revealed how such thinking is never itself a drug-free zone. Consequently, there is no ground on which to distinguish ‘culture’ from ‘drug culture’ in the first place.
John Richardson
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195367362
- eISBN:
- 9780199918249
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195367362.003.0006
- Subject:
- Music, Popular
This chapter discusses audiovisual performances by Gorillaz, a cartoon band formed by the pop musician Damon Albarn and the cartoonist Jamie Hewlett, The first study approaches the hit song Clint ...
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This chapter discusses audiovisual performances by Gorillaz, a cartoon band formed by the pop musician Damon Albarn and the cartoonist Jamie Hewlett, The first study approaches the hit song Clint Eastwood form narratological and phenomenological angles in light of the group's heavily publicized media-critical agenda. Issues of originality and artistry are broached in a second case study on the music video, Feel Good Inc. Concerning Gorillaz’ anonymous mediated performances, Manuel Castell's notion of “real virtuality” and Katherine Hayles’ idea of “embodied virtuality” are offered in preference to Baudrillard's “hyperreality” and “simulacra” as a means of addressing the materiality of mediated performances. Criticism of the group has claimed that their performances resemble the media realities their work parodies to such an extent that any critical content is bound to compromised. A core argument is that when it comes to representations of the virtual, without mimesis there can be no effective critique.Less
This chapter discusses audiovisual performances by Gorillaz, a cartoon band formed by the pop musician Damon Albarn and the cartoonist Jamie Hewlett, The first study approaches the hit song Clint Eastwood form narratological and phenomenological angles in light of the group's heavily publicized media-critical agenda. Issues of originality and artistry are broached in a second case study on the music video, Feel Good Inc. Concerning Gorillaz’ anonymous mediated performances, Manuel Castell's notion of “real virtuality” and Katherine Hayles’ idea of “embodied virtuality” are offered in preference to Baudrillard's “hyperreality” and “simulacra” as a means of addressing the materiality of mediated performances. Criticism of the group has claimed that their performances resemble the media realities their work parodies to such an extent that any critical content is bound to compromised. A core argument is that when it comes to representations of the virtual, without mimesis there can be no effective critique.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.001.0001
- Subject:
- History, European Medieval History
In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a ...
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In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a poem emerged as an experience, one generated when an audience habituated to watching and participating in dance encountered poetic text. In bringing dance-based perceptual practices to bear upon the apprehension of poetry, medieval audiences experienced a poem’s form as virtual, a strange footing askew of ordinary space and time. To understand how premodern dance-based experiences shaped premodern poetic encounters, Strange Footing formulates a new method for the study of the past. It juxtaposes medieval spectacles with instances of contemporary dance to reenact the immersive spectacle of the premodern performance. Danse macabre, for instance, finds elucidation in Lucinda Childs’s multimedia choreography; premodern round dance, meanwhile, yields new experiential aspects when read alongside the work of Mark Morris. When contemporary audiences and performers engage the work of Childs and Morris, they apprehend force and energy supplementing dancing bodies: the strange and sometimes disorienting virtuality of dance. Strange Footing uses these encounters to identify where medieval representations of dance convey the premodern spectator’s awareness of such virtuality. The medieval audience's apprehension of virtual force dictated their experiences of various poetic traditions, including carols, lyrics, and “dance of death” stanzas. In configuring a new method to interpret the past, Strange Footing redefines poetic form, demonstrating how the obliquities of virtual dance led medieval audiences through experiences of poetic form.Less
In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a poem emerged as an experience, one generated when an audience habituated to watching and participating in dance encountered poetic text. In bringing dance-based perceptual practices to bear upon the apprehension of poetry, medieval audiences experienced a poem’s form as virtual, a strange footing askew of ordinary space and time. To understand how premodern dance-based experiences shaped premodern poetic encounters, Strange Footing formulates a new method for the study of the past. It juxtaposes medieval spectacles with instances of contemporary dance to reenact the immersive spectacle of the premodern performance. Danse macabre, for instance, finds elucidation in Lucinda Childs’s multimedia choreography; premodern round dance, meanwhile, yields new experiential aspects when read alongside the work of Mark Morris. When contemporary audiences and performers engage the work of Childs and Morris, they apprehend force and energy supplementing dancing bodies: the strange and sometimes disorienting virtuality of dance. Strange Footing uses these encounters to identify where medieval representations of dance convey the premodern spectator’s awareness of such virtuality. The medieval audience's apprehension of virtual force dictated their experiences of various poetic traditions, including carols, lyrics, and “dance of death” stanzas. In configuring a new method to interpret the past, Strange Footing redefines poetic form, demonstrating how the obliquities of virtual dance led medieval audiences through experiences of poetic form.
Lloyd P Gerson
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199693719
- eISBN:
- 9780191739019
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199693719.003.0002
- Subject:
- Philosophy, Ancient Philosophy, History of Philosophy
This paper offers an interpretation of ‘y is the logos of ’ in Plotinus’ Enneads. The focus is primarily on those passages wherein x and y have ontological referents, though it also includes comments ...
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This paper offers an interpretation of ‘y is the logos of ’ in Plotinus’ Enneads. The focus is primarily on those passages wherein x and y have ontological referents, though it also includes comments about those passages wherein x and y are used semantically or epistemologically. The thesis is that for Plotinus, anything that is the logos of anything else has derivative intelligibility. Thus, only the One is unqualifiedly self-explicable. The One is virtually all that is derived from it roughly in the way that ‘white’ light is virtually the colour spectrum. Following Plato and Aristotle, Plotinus holds that nothing in nature can be self-explicable.Less
This paper offers an interpretation of ‘y is the logos of ’ in Plotinus’ Enneads. The focus is primarily on those passages wherein x and y have ontological referents, though it also includes comments about those passages wherein x and y are used semantically or epistemologically. The thesis is that for Plotinus, anything that is the logos of anything else has derivative intelligibility. Thus, only the One is unqualifiedly self-explicable. The One is virtually all that is derived from it roughly in the way that ‘white’ light is virtually the colour spectrum. Following Plato and Aristotle, Plotinus holds that nothing in nature can be self-explicable.
Jennifer J. Gristock
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780198296553
- eISBN:
- 9780191685231
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198296553.003.0004
- Subject:
- Business and Management, Information Technology, Innovation
Virtual organisation is introduced in this chapter as a bottomless vessel of semantic vacuity that is waiting to be filled with meaning. Since there is no concrete definition for the notion of ...
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Virtual organisation is introduced in this chapter as a bottomless vessel of semantic vacuity that is waiting to be filled with meaning. Since there is no concrete definition for the notion of virtual organisation, researchers who argue about this definition are also debating on whether this said vessel is half-empty or half-full. The research presented in this chapter illustrates how important it is to have an understanding of the nature of virtuality in organisations with reference to the way meanings are created. The chapter makes use of the results of a survey of new media developers and editorial staff of regional daily newspapers in the United Kingdom and follow up interviews with the creators of the newspaper websites to illustrate the possible limitations of virtual organisation in terms of the variety of organisational transformations in the industry.Less
Virtual organisation is introduced in this chapter as a bottomless vessel of semantic vacuity that is waiting to be filled with meaning. Since there is no concrete definition for the notion of virtual organisation, researchers who argue about this definition are also debating on whether this said vessel is half-empty or half-full. The research presented in this chapter illustrates how important it is to have an understanding of the nature of virtuality in organisations with reference to the way meanings are created. The chapter makes use of the results of a survey of new media developers and editorial staff of regional daily newspapers in the United Kingdom and follow up interviews with the creators of the newspaper websites to illustrate the possible limitations of virtual organisation in terms of the variety of organisational transformations in the industry.
Mark Grimshaw and Tom Garner
- Published in print:
- 2015
- Published Online:
- August 2015
- ISBN:
- 9780199392834
- eISBN:
- 9780199392858
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199392834.001.0001
- Subject:
- Music, Philosophy of Music, Psychology of Music
This book introduces the concept of sonic virtuality, a theory of sound that positions it as an emergent perception within a framework of virtuality. In its opposition to the acoustic or standard ...
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This book introduces the concept of sonic virtuality, a theory of sound that positions it as an emergent perception within a framework of virtuality. In its opposition to the acoustic or standard definition of sound, that sound is a sound wave, the thesis builds its case for a sonic aggregate as the virtual cloud of potentials from which the sound as perception emerges. This is argued for from a broad interdisciplinary perspective that assesses evidence and thinking from philosophy; acoustics and psychoacoustics; auditory science and neurology; sensation, perception, and cognition; cross-modality; writings on truth, knowledge, imagination, hallucination, belief, and alief; ontology and epistemology; embodied cognition; computer games and similar environments; acoustic ecology and ecological acoustics; sound design; and theories of reality, actuality, and virtuality. Throughout, the book is at pains to not only assess from many approaches this new way of conceptualizing sound but also to demonstrate the practical applications and advantages of the ideas and models that accompany it. This is accomplished through numerous illustrative examples that not only reference everyday experiences but also probe the future of audio design in the context of new and developing technologies.Less
This book introduces the concept of sonic virtuality, a theory of sound that positions it as an emergent perception within a framework of virtuality. In its opposition to the acoustic or standard definition of sound, that sound is a sound wave, the thesis builds its case for a sonic aggregate as the virtual cloud of potentials from which the sound as perception emerges. This is argued for from a broad interdisciplinary perspective that assesses evidence and thinking from philosophy; acoustics and psychoacoustics; auditory science and neurology; sensation, perception, and cognition; cross-modality; writings on truth, knowledge, imagination, hallucination, belief, and alief; ontology and epistemology; embodied cognition; computer games and similar environments; acoustic ecology and ecological acoustics; sound design; and theories of reality, actuality, and virtuality. Throughout, the book is at pains to not only assess from many approaches this new way of conceptualizing sound but also to demonstrate the practical applications and advantages of the ideas and models that accompany it. This is accomplished through numerous illustrative examples that not only reference everyday experiences but also probe the future of audio design in the context of new and developing technologies.
Julia Flanders
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198236634
- eISBN:
- 9780191679315
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198236634.003.0006
- Subject:
- Literature, Criticism/Theory
Electronic texts are implicated with peculiar force in this notion of the virtual, because the understanding of textuality originates in the same philosophical crux as the ideas of physicality and ...
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Electronic texts are implicated with peculiar force in this notion of the virtual, because the understanding of textuality originates in the same philosophical crux as the ideas of physicality and representation. The electronic text's lack of, or freedom from, a body is a crucial focus for the anxieties and hopes which attach to the new medium. Elegists and enthusiasts alike focus on their assessment of the political and cultural influence of the electronic text on its virtuality. The politics of the traditional text and its production have always had a great deal to do with gender, though not always in an obvious manner. In order to understand the deep-rooted implication of gender in textual beliefs and practices, this chapter takes a brief excursus into the history which has produced the notion of the ‘traditional text’.Less
Electronic texts are implicated with peculiar force in this notion of the virtual, because the understanding of textuality originates in the same philosophical crux as the ideas of physicality and representation. The electronic text's lack of, or freedom from, a body is a crucial focus for the anxieties and hopes which attach to the new medium. Elegists and enthusiasts alike focus on their assessment of the political and cultural influence of the electronic text on its virtuality. The politics of the traditional text and its production have always had a great deal to do with gender, though not always in an obvious manner. In order to understand the deep-rooted implication of gender in textual beliefs and practices, this chapter takes a brief excursus into the history which has produced the notion of the ‘traditional text’.
Gary Peters
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780226452623
- eISBN:
- 9780226452760
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226452760.003.0014
- Subject:
- Philosophy, Aesthetics
This chapter continues the discussion of the Del McCoury Band while re-introducing Deleuze's concepts of virtuality/verticality and actualization/horizontality to illuminate the manner in which ...
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This chapter continues the discussion of the Del McCoury Band while re-introducing Deleuze's concepts of virtuality/verticality and actualization/horizontality to illuminate the manner in which bluegrass can remain a 'live' tradition thanks to the multiplicity/difference of the 'idea' of bluegrass. This, the differentiation of the idea, is enacted through improvisation.Less
This chapter continues the discussion of the Del McCoury Band while re-introducing Deleuze's concepts of virtuality/verticality and actualization/horizontality to illuminate the manner in which bluegrass can remain a 'live' tradition thanks to the multiplicity/difference of the 'idea' of bluegrass. This, the differentiation of the idea, is enacted through improvisation.
Tim Farrant
- Published in print:
- 2002
- Published Online:
- January 2010
- ISBN:
- 9780198151975
- eISBN:
- 9780191710247
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151975.001.0001
- Subject:
- Literature, European Literature
Balzac's reputation is as a novelist. But short stories make up over half La Comédie humaine, in addition to scores of other tales and articles. Short forms appear early in Balzac's output, and shape ...
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Balzac's reputation is as a novelist. But short stories make up over half La Comédie humaine, in addition to scores of other tales and articles. Short forms appear early in Balzac's output, and shape his work throughout his career. This book looks at the whole of this corpus, at the nature of short fiction, and at how Balzac's novels developed from his stories — at the links between literary genesis and genre. It explores the roles of short fiction in Balzac' s creation, its part in producing effects of virtuality and perspective, and reflects ultimately on the relationship between brevity and length in La Comédie humaine.Less
Balzac's reputation is as a novelist. But short stories make up over half La Comédie humaine, in addition to scores of other tales and articles. Short forms appear early in Balzac's output, and shape his work throughout his career. This book looks at the whole of this corpus, at the nature of short fiction, and at how Balzac's novels developed from his stories — at the links between literary genesis and genre. It explores the roles of short fiction in Balzac' s creation, its part in producing effects of virtuality and perspective, and reflects ultimately on the relationship between brevity and length in La Comédie humaine.
Brigitta B. Wagner
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780816691715
- eISBN:
- 9781452953595
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691715.001.0001
- Subject:
- Film, Television and Radio, Film
Berlin Replayed explores the role of film revival and production in the construction of Berlin’s city image and film geographies at several distinct moments in history: the ‘Golden’ Twenties, the ...
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Berlin Replayed explores the role of film revival and production in the construction of Berlin’s city image and film geographies at several distinct moments in history: the ‘Golden’ Twenties, the divided but pre-Wall 1950s, the political turning point of the late 1980s and early 1990s, and the start of the new millennium. This book argues for the importance of moving images and cultural policy in fostering collective urban nostalgia in the face of the city’s renewed function as the all-German capital. Understanding films as complex, intertextual archives of place in audiovisual dialogue with changes in the built city, Berlin Replayed approaches successive ‘New’ Berlins from the vantage point of the postwar, postwall city and its film industry—both enmeshed in coming to terms with the structural damage of the Second World War and the legacy of a politically and physically divided cityscape. Combining medium specific approaches with cultural historical and film analytical ones, this study focuses on four key problems raised by the relationship between film geography, profilmic urban space, film revival culture, and the production of cinematic space: 1. remake: how cities remake films and how films remake cities; 2. generation: how films created generational geographical affiliations that ran counter to official demarcations of space; 3. virtuality: how films and new media differ in their representations of Berlin’s layered past and their solutions to lost urban spaces in time; and 4. orientation: how filmic constructions of cinematic urban space instruct spectators in the perception of the changing built city.Less
Berlin Replayed explores the role of film revival and production in the construction of Berlin’s city image and film geographies at several distinct moments in history: the ‘Golden’ Twenties, the divided but pre-Wall 1950s, the political turning point of the late 1980s and early 1990s, and the start of the new millennium. This book argues for the importance of moving images and cultural policy in fostering collective urban nostalgia in the face of the city’s renewed function as the all-German capital. Understanding films as complex, intertextual archives of place in audiovisual dialogue with changes in the built city, Berlin Replayed approaches successive ‘New’ Berlins from the vantage point of the postwar, postwall city and its film industry—both enmeshed in coming to terms with the structural damage of the Second World War and the legacy of a politically and physically divided cityscape. Combining medium specific approaches with cultural historical and film analytical ones, this study focuses on four key problems raised by the relationship between film geography, profilmic urban space, film revival culture, and the production of cinematic space: 1. remake: how cities remake films and how films remake cities; 2. generation: how films created generational geographical affiliations that ran counter to official demarcations of space; 3. virtuality: how films and new media differ in their representations of Berlin’s layered past and their solutions to lost urban spaces in time; and 4. orientation: how filmic constructions of cinematic urban space instruct spectators in the perception of the changing built city.
Peter Otto
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199567676
- eISBN:
- 9780191725364
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199567676.003.0010
- Subject:
- Literature, 19th-century Literature and Romanticism, Film, Media, and Cultural Studies
Although Wordsworth is the most influential poet of the Romantic era, his role in the development of modern concepts of virtuality has yet to be explored. Where Blake hopes to transform the actual by ...
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Although Wordsworth is the most influential poet of the Romantic era, his role in the development of modern concepts of virtuality has yet to be explored. Where Blake hopes to transform the actual by drawing on a virtuality (an open-ended, unstructured potential) that lies beyond it, Wordsworth discovers an analogous potential within the actual itself. This powerful revisioning of the actual is the topic of this chapter, which discusses Wordsworth's ‘Composed on Westminster Bridge, September 3, 1802’ and the ‘Cave of Yordas’ episode in Book VIII of The Prelude. It concludes by turning to romantic accounts of the Brocken Spectre and Aeolian Harp, which it argues are attempts to compose a ‘living theatre’ that, in contrast to popular entertainments such as the phantasmagoria, draws attention to the audience's active role in fabricating the illusions that appear before their eyes.Less
Although Wordsworth is the most influential poet of the Romantic era, his role in the development of modern concepts of virtuality has yet to be explored. Where Blake hopes to transform the actual by drawing on a virtuality (an open-ended, unstructured potential) that lies beyond it, Wordsworth discovers an analogous potential within the actual itself. This powerful revisioning of the actual is the topic of this chapter, which discusses Wordsworth's ‘Composed on Westminster Bridge, September 3, 1802’ and the ‘Cave of Yordas’ episode in Book VIII of The Prelude. It concludes by turning to romantic accounts of the Brocken Spectre and Aeolian Harp, which it argues are attempts to compose a ‘living theatre’ that, in contrast to popular entertainments such as the phantasmagoria, draws attention to the audience's active role in fabricating the illusions that appear before their eyes.
Peter Otto
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199567676
- eISBN:
- 9780191725364
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199567676.003.0011
- Subject:
- Literature, 19th-century Literature and Romanticism, Film, Media, and Cultural Studies
This chapter argues that to understand Wordsworth's account of virtuality and its relation to his early radicalism, we must turn to The Two-Part ‘Prelude’ (1799) and in particular to the capacity for ...
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This chapter argues that to understand Wordsworth's account of virtuality and its relation to his early radicalism, we must turn to The Two-Part ‘Prelude’ (1799) and in particular to the capacity for open-ended transformation explored in the ‘spots of time’. This focus refigures our understanding of the early Wordsworth and, just as importantly, explains the urgency with which his later works attempt to manage rather than reject this volatile power. Framed in this way, Wordsworth can be seen as one of the most important pioneeers of modern notions of virtuality. Although rarely recognized as such, he stands (with other Romantic writers such as William Blake) at the beginning of two quite disparate traditions of thought about virtuality: one leading to the work of Marcel Proust, Henri Bergson, and Gilles Deleuze; the other taking us from Romanticism to the notions of ecology championed by twentieth- and twenty-first-century green movements.Less
This chapter argues that to understand Wordsworth's account of virtuality and its relation to his early radicalism, we must turn to The Two-Part ‘Prelude’ (1799) and in particular to the capacity for open-ended transformation explored in the ‘spots of time’. This focus refigures our understanding of the early Wordsworth and, just as importantly, explains the urgency with which his later works attempt to manage rather than reject this volatile power. Framed in this way, Wordsworth can be seen as one of the most important pioneeers of modern notions of virtuality. Although rarely recognized as such, he stands (with other Romantic writers such as William Blake) at the beginning of two quite disparate traditions of thought about virtuality: one leading to the work of Marcel Proust, Henri Bergson, and Gilles Deleuze; the other taking us from Romanticism to the notions of ecology championed by twentieth- and twenty-first-century green movements.
Peter Otto
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199567676
- eISBN:
- 9780191725364
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199567676.003.0008
- Subject:
- Literature, 19th-century Literature and Romanticism, Film, Media, and Cultural Studies
The chapter begins with a discussion of Philippe De Loutherbourg's Eidophusikon and of the parallel drawn in its famous concluding scene (added in 1782) between Satan and Loutherbourg, the creation ...
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The chapter begins with a discussion of Philippe De Loutherbourg's Eidophusikon and of the parallel drawn in its famous concluding scene (added in 1782) between Satan and Loutherbourg, the creation of Pandemonium and the virtual spaces conjured by the Eidophusikon. In the second part of the chapter, Satan and Pandemonium provide points of reference in relation to which an alphabet is constructed of relations between the virtual and the actual in the late eighteenth century. Following discussions of works by Barry, Wordsworth, Coleridge, Byron, Percy Shelley, Keats, Blake, and John Martin, amongst others, the argument concludes by noting that during this period Satan is also the vehicle for introducing a new sense of the virtual, one in which this term refers to a realm of living-potential from which all virtual realities emerge (‘virtuality’, in contemporary parlance). In this regard, romantic virtuality anticipates the work of Henri Bergson and Gilles Deleuze.Less
The chapter begins with a discussion of Philippe De Loutherbourg's Eidophusikon and of the parallel drawn in its famous concluding scene (added in 1782) between Satan and Loutherbourg, the creation of Pandemonium and the virtual spaces conjured by the Eidophusikon. In the second part of the chapter, Satan and Pandemonium provide points of reference in relation to which an alphabet is constructed of relations between the virtual and the actual in the late eighteenth century. Following discussions of works by Barry, Wordsworth, Coleridge, Byron, Percy Shelley, Keats, Blake, and John Martin, amongst others, the argument concludes by noting that during this period Satan is also the vehicle for introducing a new sense of the virtual, one in which this term refers to a realm of living-potential from which all virtual realities emerge (‘virtuality’, in contemporary parlance). In this regard, romantic virtuality anticipates the work of Henri Bergson and Gilles Deleuze.
Peter Otto
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199567676
- eISBN:
- 9780191725364
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199567676.003.0009
- Subject:
- Literature, 19th-century Literature and Romanticism, Film, Media, and Cultural Studies
This chapter provides an introduction to Blake's oeuvre as the first and still one of the most profound attempts to think through the implications for aesthetics and politics of the virtual, here ...
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This chapter provides an introduction to Blake's oeuvre as the first and still one of the most profound attempts to think through the implications for aesthetics and politics of the virtual, here understood in the sense of open-ended potential and constructed virtual reality. In a dramatic reworking of the assumptions implicit in the panorama's hyper-realistic simulations, Blake's long poems attempt to reveal the relations and processes (the historical, cultural, psychological apparatus) on which both first-order reality and its simulation depend. After a discussion of Blake's ‘bounding line’ in America: a Prophecy (1793) and The Book of Los (1795), this chapter concludes by arguing that the composite art of Jerusalem (c.1804–20) is an attempt to rework the ‘dialectic of discourse and vision’, word and image, that constitutes the fallen world, and in so doing to suggest the virtual/actual forms that true liberty might take.Less
This chapter provides an introduction to Blake's oeuvre as the first and still one of the most profound attempts to think through the implications for aesthetics and politics of the virtual, here understood in the sense of open-ended potential and constructed virtual reality. In a dramatic reworking of the assumptions implicit in the panorama's hyper-realistic simulations, Blake's long poems attempt to reveal the relations and processes (the historical, cultural, psychological apparatus) on which both first-order reality and its simulation depend. After a discussion of Blake's ‘bounding line’ in America: a Prophecy (1793) and The Book of Los (1795), this chapter concludes by arguing that the composite art of Jerusalem (c.1804–20) is an attempt to rework the ‘dialectic of discourse and vision’, word and image, that constitutes the fallen world, and in so doing to suggest the virtual/actual forms that true liberty might take.
Inge Hinterwaldner
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035040
- eISBN:
- 9780262335546
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035040.003.0006
- Subject:
- Society and Culture, Technology and Society
Computer simulations are centered around events and come to the fore where prefabricated paths are avoided. However, these calculated constructs have nothing to do with phantasies of limitless ...
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Computer simulations are centered around events and come to the fore where prefabricated paths are avoided. However, these calculated constructs have nothing to do with phantasies of limitless possibilities. In order to frame the repertoire of available actions in a real time scenery, 'purpose filters' are built in. If a situation can be described as allowing only a limited set of events, then situationality is a major feature of simulations. Some further apparent characteristics are manifold variability, the provision of co-presence and simultaneity of the occurrences, a certain 'flatness' of events or uniformity of the whole constellation, as well as its interruption with montage-like cuts on the surface and substrate. These characteristics contribute to a better understanding of which kind of design set is at stake with simulations, where their borders and their strengths lie. What design strategy is to be adopted in order to provide an iconicity capable of contributing and constituting an instantaneity and flexibility?Less
Computer simulations are centered around events and come to the fore where prefabricated paths are avoided. However, these calculated constructs have nothing to do with phantasies of limitless possibilities. In order to frame the repertoire of available actions in a real time scenery, 'purpose filters' are built in. If a situation can be described as allowing only a limited set of events, then situationality is a major feature of simulations. Some further apparent characteristics are manifold variability, the provision of co-presence and simultaneity of the occurrences, a certain 'flatness' of events or uniformity of the whole constellation, as well as its interruption with montage-like cuts on the surface and substrate. These characteristics contribute to a better understanding of which kind of design set is at stake with simulations, where their borders and their strengths lie. What design strategy is to be adopted in order to provide an iconicity capable of contributing and constituting an instantaneity and flexibility?
Simon Morgan Wortham
- Published in print:
- 2007
- Published Online:
- March 2011
- ISBN:
- 9780823226658
- eISBN:
- 9780823235131
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823226658.003.0002
- Subject:
- Philosophy, Philosophy of Mind
This chapter, rather than starting to build a prospective model of the counter-institution in view of the predicament the university finds itself in today, ...
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This chapter, rather than starting to build a prospective model of the counter-institution in view of the predicament the university finds itself in today, explores this other or “counter” temporality, the temporality not just of the counter-institution but of the “counter” itself: a “counter” logic, force, movement, rhythm. It begins by showing why one cannot simply force a “counter” logic or movement, a counter-institution, to “be quick about it,” or call for counter-institutions in such an unequivocal way. Yet, as the analysis proceeds or unfolds, it also suggests that the “counter” begins by coming back, promising to answer the call along the lines of a certain artifactuality or actuvirtuality, or in other words, by way of complex effects of spectrality, virtuality, the as if, and the tele-effect, which together haunt our electronic communications networks and computerized systems.Less
This chapter, rather than starting to build a prospective model of the counter-institution in view of the predicament the university finds itself in today, explores this other or “counter” temporality, the temporality not just of the counter-institution but of the “counter” itself: a “counter” logic, force, movement, rhythm. It begins by showing why one cannot simply force a “counter” logic or movement, a counter-institution, to “be quick about it,” or call for counter-institutions in such an unequivocal way. Yet, as the analysis proceeds or unfolds, it also suggests that the “counter” begins by coming back, promising to answer the call along the lines of a certain artifactuality or actuvirtuality, or in other words, by way of complex effects of spectrality, virtuality, the as if, and the tele-effect, which together haunt our electronic communications networks and computerized systems.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.003.0001
- Subject:
- History, European Medieval History
This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of ...
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This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of worldly measures of time and space, existing between the real and the unreal. To make this case, Strange Footing reenacts prevalent traditions of performing and representing dance, such as carole and danse macabre.Less
This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of worldly measures of time and space, existing between the real and the unreal. To make this case, Strange Footing reenacts prevalent traditions of performing and representing dance, such as carole and danse macabre.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.003.0002
- Subject:
- History, European Medieval History
This chapter defines the terms reenactment, experience, and virtuality. It elucidates Strange Footing's reenactment method, which juxtaposes medieval and contemporary dance.
This chapter defines the terms reenactment, experience, and virtuality. It elucidates Strange Footing's reenactment method, which juxtaposes medieval and contemporary dance.
Samuel Weber
- Published in print:
- 2004
- Published Online:
- March 2011
- ISBN:
- 9780823224159
- eISBN:
- 9780823235841
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823224159.003.0012
- Subject:
- Philosophy, Philosophy of Language
In 1933, Antonin Artaud introduced his notion of a “theater of cruelty” by associating the purpose of theater with the necessary cruelty that one can inflict on others. In a ...
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In 1933, Antonin Artaud introduced his notion of a “theater of cruelty” by associating the purpose of theater with the necessary cruelty that one can inflict on others. In a way, Artaud implies that theater teaches us to be cruel. The chapter counters this notion, pointing to the political and cultural importance Artaud gives to theater and his view on war, plagues, and the like. This chapter includes a discussion of the notion of a theater of cruelty, how this notion could influence the thoughts of the audience, and the chapter's critique of this notion. Through this, the chapter introduces the concept of virtualization as the inverse movement of actualization. Also, the chapter also establishes the relevance of meaning as something unaffected by place and space and relates this to the notion of virtuality.Less
In 1933, Antonin Artaud introduced his notion of a “theater of cruelty” by associating the purpose of theater with the necessary cruelty that one can inflict on others. In a way, Artaud implies that theater teaches us to be cruel. The chapter counters this notion, pointing to the political and cultural importance Artaud gives to theater and his view on war, plagues, and the like. This chapter includes a discussion of the notion of a theater of cruelty, how this notion could influence the thoughts of the audience, and the chapter's critique of this notion. Through this, the chapter introduces the concept of virtualization as the inverse movement of actualization. Also, the chapter also establishes the relevance of meaning as something unaffected by place and space and relates this to the notion of virtuality.
Kevin McLaughlin
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780804791007
- eISBN:
- 9780804792288
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804791007.003.0001
- Subject:
- Literature, Criticism/Theory
This chapter lays out the origins of Walter Benjamin's theory of the force of images in Kant's philosophy, in particular the Critique of the Power of Judgment and the second edition of the Critique ...
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This chapter lays out the origins of Walter Benjamin's theory of the force of images in Kant's philosophy, in particular the Critique of the Power of Judgment and the second edition of the Critique of Pure Reason. It examines the influence of this theory throughout Benjamin's work: from his early essay on Friedrich HÖlderlin to his late Arcades Project.Less
This chapter lays out the origins of Walter Benjamin's theory of the force of images in Kant's philosophy, in particular the Critique of the Power of Judgment and the second edition of the Critique of Pure Reason. It examines the influence of this theory throughout Benjamin's work: from his early essay on Friedrich HÖlderlin to his late Arcades Project.
