Richard L. Lane Jean Baudrillard p. 85 and Charlize Theron
Trinity and a young pony
The sun and the light bulb.
Franz Kafka and (?)
The New Yorker Nov. 21, 2011 p. 91 Jane Kramer, The Food at Our Feet
William James and Josiah Royce. Royce is also perhaps the founder of the Harvard school of logic, Boolean algebra, and foundation of mathematics. His logic, philosophy of logic, and philosophy of mathematics were influenced by Charles Peirce and Alfred Bray Kempe. Students who in turn learned logic at Royce's feet include Clarence Irving Lewis, who went on to pioneer modal logic, Edward Vermilye Huntington, the first to axiomatize Boolean algebra, and Henry M. Sheffer, known for his eponymous stroke. http://en.wikipedia.org/wiki/Josiah_RoyceCharles Sanders PeirceDOTA Paul Maltby. Postmodernism in a Fundamentalist Arena. In The Mourning After, by Neil Brooks And Josh Toth, Eds. P. 25
The New Yorker Nov. 21, 2011 p. 128. Sasha Frere-Jones Time Indefinite. Daniel Lopatin. Oneohtrix Point Never
Vietnam memorial. Letter to a Wall By Racheline Maltesehttp://robinurton.com/history/postmodern.htm
http://robinurton.com/history/postmodern.htm. Robin Urton. Jesse Trevino: Senora Dolores Trevino, 1982William G. Little: Derrida, Jacques. (1995) The Gift of Death. Trans. David Wills. Chicago, IL: University of Chicago Press, p. 80. The Mourning After p. 193
http://robinurton.com/history/postmodern.htm. Richard Serra's "Tilted Arc", 1981 (now destroyed)
http://www.google.com/imgres?imgurl=http://www.francisberry.com/images/contemporary_postmodern_art.jpg&imgrefurl=http://www.francisberry.com/&h=411&w=550&sz=73&tbnid=pv4s_StXr6MP9M:&tbnh=90&tbnw=120&zoom=1&docid=kdijKeqx3RYEVM&sa=X&ei=4A3dTr_rNoX02QXzqaWWCA&ved=0CE4Q9QEwBA&dur=62http://postmodern-art.com/ Francis Berry, Postmodern Self-Portrait, LuckyAcrylic Painting on Canvas, 48" x 64", 2007Words by Francis Berry.
“The Lee Shore” from Moby Dick by Herman Melville. Picked up from Tree of Smoke by Denis Johnson, p. 39
http://plato.stanford.edu/entries/postmodernism/http://www.samplereality.com/2010/01/18/the-archive-or-the-trace-cultural-permanence-and-the-fugitive-text/http://dictionary.sensagent.com/univocity/en-en/http://www.cla.purdue.edu/english/theory/postmodernism/terms/simulacrum.html - Jean Baudrillard in "The Precession of Simulacra" defines this term as follows: "Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal.... It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real" (1-2). His primary examples are psychosomatic illness, Disneyland, and Watergate.Fredric Jameson provides a similar definition: the simulacrum's "peculiar function lies in what Sartre would have called the derealization of the whole surrounding world of everyday reality" (34).http://proginosko.wordpress.com/2011/04/14/tag-and-epistemic-certainty/http://www.vanderbilt.edu/AnS/Anthro/Anth206/jean_baudrillard_and_hyperrealit.htm
http://www.vanderbilt.edu/AnS/Anthro/Anth206/jean_baudrillard_and_hyperrealit.htm – the university sceneThe term disaffectation was coined by noted French psychoanalyst Joyce McDougall as a strictly psychoanalytic term for alexithymia, a neurological condition characterized by severe lack of emotional awareness. http://en.wikipedia.org/wiki/Disaffectation ^ McDougall, J. (1984). 'The "Dis-Affected" Patient: Reflections on Affect Pathology'. Psychoanalytic Quarterly, 53:386-409
Joshua Kane – The Panoptic TransitionHttp://redseven.wordpress.com/dropping-knowledge/panopticon/ They are like so many cages, so many small theatres, in which each actor is alone, perfectly individualized and constantly visible. The panoptic mechanism arranges spatial unities that make it possible to see constantly and to recognize immediately. In short, it reverses the principle of the dungeon; or rather of its three functions - to enclose, to deprive of light and to hide - it preserves only the first and eliminates the other two. Full lighting and the eye of a supervisor capture better than darkness, which ultimatelyprotected. Visibility is a trap. Zulua tactics of power that fulfils three criteria: firstly, to obtain the exercise of power at the lowest possible cost economically; politically, by the little resistance it arouses; secondly, to bring the effects of this social power to their maximum intensity and to extend them as far as possible; thirdly, to link this 'economic' growth of power with the output of the apparatuses (educational, military, industrial or medical) within which it is exercised; in short, to increase both the docility and the utility of all elements of the system" (218). http://en.wikipedia.org/wiki/PanopticismS. Elizabeth Searle "But the temple is a peculiarly polyvalent symbol in Christian Scripture.". James Fodor. The Beauty of the Word Re-membered, Scripture Reading as a Cognitive/Aesthetic Practice. from Daniel J. Treier et al (Eds.), The Beauty of God: Theology and the Arts (InterVarsity Press: 2007).
A postmodern text, building, performance, and so on, is usually a mixture of styles,drawing on different historical movementsand features to produce a hybrid form. Thisis in direct opposition to modernism, which rejected the past to build a new, enclosed style of its own.
I ate reindeer moss at Noma, deep-fried, spiced with cèpes, and deliciously crisp. It was the third of twenty-threeappetizers and tasting dishes I ate that night, the first being a hay parfait – a long infusion of cream and toasted hay, intowhich yarrow, nasturtium, camomile jelly, egg, and sorrel and camomile juice were then blended….….The second arrived in a flower pot, filled with malted, roasted rye crumbs and holding shoots of raw wild vegetables, a tinypoached mousse of snail nestling in a flower, and a flatbread “branch” that was spiced with powdered oak shoots, birch,and juniper.I told him it was the best meal I had ever eaten, and it was.
d eleg itimiza tio n o f te x tu a l a u th o rity
Formal boundaries are only suggested, and the music moves in large harmonic clouds and slow arpeggios, melancholicand more than a little mystifying.All the roles are assigned to keyboards – you will not hear anything so pedestrian as a bass or a guitar on “Replica.”The rest of the sonic field is taken up by samples, which hiccup and crunch and hint at rhythms, and usually simplystop before establishing a predictable sequence.He surrounds the notes with a billowing sound, like a distant explosion, and a drone envelops the song as the pianofinally settles on four chords, which repeat for two minutes, until, abruptly, the song ends.
"I am a story teller. I came here to write about this place, but that is suddenly not what I am doing. I cried here at your wall today, but I dont know a single person on it. Every time I see a namethat reminds me of one I know, I twitch. I do know people who were there. I do know how easily things could be reversed. And I dont know what Id do without these people. So, I guess I need to thank you for them. I am only 21. I do not remember the war when it was happening. I did not learn about it in school. To see these men and women with their shirts and flags shakes me. Seeing the things people have left here shakes me. A picture of Jimi Hendrix, a bottle of Seagram’s 7, a pack of cigarettes have reduced me to tears. I wonder if you watch us, if you see this. If youd like to say thank you for these gifts. I wonder if we mourn for you or for ourselves. I came hererecently before dawn, and it was empty. The wind was knocking over your flowers, andsquirrels were playing on top of your blackledge. I stood at the apex of a wall, I guess at the apex of a war;and it started to pour. I just stood there. I live near here so I visit often now. Thank you for giving me something to understand...or to try to;these days, there is very little I understand. I can give you nothing but these words.But I promise Ill bring my kids here one day,make them remember, make it somehowmore than just another story".
postmodernismOur faith is not assured, because faith can never be, it must never be a certainty. We share with Abrahamwhat can’t be shared, a secret we know nothing about,neither him nor us. To share a secret is not to know orreveal the secret, it is to share we know not what:nothing that can be determined.
"I am a story teller. I came here to write about this place, but that is suddenly not what I am doing.I cried here at your wall today, but I dont know a single person on it. Every time I see a namethat reminds me of one I know, I twitch. I do know people who were there. I do know how easilythings could be reversed. And I dont know what Id do without these people.So, I guess I need to thank you for them. I am only 21. I do not remember the war when it was happening.I did not learn about it in school. To see these men and women with their shirts and flags shakes me.Seeing the things people have left here shakes me. A picture of Jimi Hendrix, a bottle of Seagrams 7,a pack of cigarettes have reduced me to tears. I wonder if you watch us, if you see this.If youd like to say thank you for these gifts. I wonder if we mourn for you or for ourselves. I came here recently before dawn, and it was empty. The wind was knocking over your flowers, and squirrels were playing on top of your black ledge.I stood at the apex of a wall, I guess at the apex of a war; and it started to pour.I just stood there. I live near here so I visit often now.Thank you for giving me something to understand...or to try to;these days, there is very little I understand.I can give you nothing but these words.But I promise Ill bring my kids here one day,make them remember, make it somehowmore than just another story".
In contrast, postmodernism champions theEach separate movement endeavored, value in its turn, to depict reality in terms of a of individualsingular fundamental truth that developed and during the modernist era. personalCubism, interpretations. by depicting any objectas a composite made up of fragmented anddiscrete views of itself, presented a new way of seeing timethat echoed Einstein. Surrealism andabstract expressionism thought to resolve existencein terms of Freud. Social realismtook Marx as its foundation.
But as in landlessness alone resides the highest truth, s h o r e l e s s , i n d e f i n i t e a s G o d – s o, b e t t e r i s i t t o p e r i s hin that howling infinite, than be ingloriously dashed u p o n t h e l e e , e v e n i f t h a t w e r e s a f e t y ! Fo r w o r m - l i k e ,t h e n , o h ! w h o w o u l d c ra v e n c ra w l t o l a n d !
derealizationSimulacrum: like psychosomatic illness, Disneyland, and Watergate We record the metadata but not the data. We celebrate the trace, and bid farewell to texts that by accident or design fade, decay, or simply cease to be.. That postmodernism is indefinable is a truism. However, it can be described as a set of critical, strategic, and rhetorical practices employing concepts such as difference, repetition, the trace, the simulacrum, and hyperreality to destabilize other concepts such as presence, identity, historical progress, epistemic certainty, and the univocity of meaning. according to what?Gilles Deleuze claims that being is univocal, i.e., a conclusion that has maximal epistemic warrant and could not that all of its senses are affirmed in one voice. be rationally doubted Hyperreality: illusion is no longer possible, because the real is no longer possible.
The exchange of signs (of knowledge, of culture) in the university, between "teachers" and "taught" has for some time been nothingbut a doubled collusion of bitterness and indifference (the indifference of signs that brings with it the disaffectation of socialand human relations), a doubled simulacrum of a psychodrama (that of a demand hot withshame, presence, oedipal exchange, with pedagogical incest that strives tosubstitute itself for the lost exchange of work and knowledge). In this sense the university remainsthe site of a desperate initiation to the empty form of value, and those who have livedthere for the past few years are familiar withthis strange work, the true desperation ofnon-work, of non-knowledge.Because current generations still dream of reading, of learning, ofcompeting, but their heart isnt in it – as a whole the ascetic culturalmentality has run body and possessions together.
I t wo u l d n o t b e fa i r t o s ay t h at **a tactics of power thatJ e re m y B e n t h a m i n ve n t e d t h e f u l f i l s t h r e e c r i t e r i a : f i r s t l y,p a n o p t i c m o d e l o f d o m i n at i o n ; i t to ob tain the exercise of p owerwa s a l ways t h e re. B e n t h a m wa s at the lowest possible costm e re l y t h e s c r i b e ; p a n o p t i c i s m e c o n o m i c a l l y, a n d p o l i t i c a l l y, b ywa s h i s mu s e. A c c o rd i n g t o t h e the little resistance it arouses;w i d e l y re n o w n e d p o s t m o d e r n s e c o n d l y, t o b r i n g t h e e f f e c t s o fs o c i a l c r i t i c M i ch e l Fo u c a u l t , this social power to their maximumPa n o p t i c i s m * * m u s t b e u n d e rs t o o d intensity and to extend them as fara s a ge n e ra l m o d e l o f f u n c t i o n i n g ; a s p o s s i b l e ; t h i r d l y, t o l i n k t h i sa way o f d e f i n i n g p o we r re l at i o n s economic growth of p ower withi n t e r m s o f t h e eve r yd ay l i fe o f the output of the ap paratusesm e n … I t i s p o l y va l e n t * i n i t s ( e d u c a t i o n a l , m i l i t a r y, i n d u s t r i a lap p l i c at i o n s. Po l y va l e n t i n d e e d . or medical) within which it isPa n o p t i c i s m i s, i n fa c t , s l o w l y exercised; in shor t, to increases u b j u gat i n g t h e s o c i a l wo r l d t h at both the docility and the utilitywe a l l c a l l t h e 2 1 s t c e n t u r y of all elements of the system. “ S aw u b o n a ” ( I s e e y o u ) “Ngikhona” ( I a m h e re ) *but the temple is a peculiarly polyvalent symbol in Christian Scripture…
They are like so many cages, so many small theatres,in which each actor is alone, perfectly individualizedand constantly visible. The panoptic mechanismarranges spatial unities that make it possible to seeconstantly and to recognize immediately. In short,it reverses the principle of the dungeon; or ratherof its three functions - to enclose, to deprive of lightand to hide - it preserves only the first and eliminatesthe other two. Full lighting and the eye of a supervisorcapture better than darkness, which ultimatelyprotected. Visibility is a trap.
Self reflexiveness erodes textual authority Fundamentalism is premised on pre-Enlightenment beliefs that pre-interpretive readings of the bible form the foundation of the paradigm. A counter-paradigm is postmodernism, whose raison d’etre is, precisely, the delegitimization of textual authority. The practice of challenging the authority of texts is, of course, as old as philosophy itself, but postmodernism has developed new critical tools specifically for this purpose, like: Disambiguation Man is not • Deconstruction “aeterna veritas” • The genealogical mode of historical philosophizing – (constant) • Strategic use of particularizing (anti-totalizing) concepts like perspectivism, ethnicity and locality. Transcendental • More extensive forms of ideology critique perspectivismunjust dominant ideologies, uncritically accepted, are embedded in everyday situations and practices (sets of values, beliefs, myths, explanations and justifications that appear to the majority to be self-evidently true and morally desirable).