7 Burst results for "Visu -ality"

"visu  ality" Discussed on Future Ecologies

Future Ecologies

05:12 min | 2 weeks ago

"visu ality" Discussed on Future Ecologies

"Well doesn't MEAN TO BE A. Why is it different being queer anywhere calls? In. The world. I think that one of the most amazing things about being queer what is that? It gives us. This kind of other perspective this other. This other standpoint to look at the world from that is not the dominant one. A view from elsewhere. So I like to say And as people, we can use this kind of peek behind the curtain. The sense that things are not what we've been told they are. There are always more perspectives out there and I think it's really Appropriate that you're on an island because this makes me think a lot about. This moment that I was going through. A break up where I was reading the doors of perception. By all Huxley and he describes humans. As Island, universes Because of the different. Places that were standing. And you know, I, think this episode of Ecology College. Can really focus on the fact that you know as we've been saying, there is only transformation and the importance of constantly pushing against our own perspectives. And tried to really think about submerged perspectives and thinking about ways in which though seeking spaces outside of the purview of capitalism are already doing to tether ourselves to each other and not I. Think has a long history obviously in queer theory, what it means to be in relational connection to each other. So this emerged perspectives was very much a way of dealing with being certain forms of Visu, -ality, or recognition knowing that looks alongside in horizontally. Rather, than vertically turning to postcolonial studies, but then de Colonial Studies as you know in Queering de colonial studies to think about the submerged or what lies below the surface as well. You know that that great iceberg so that we can also get into our own desires and so these submerged spaces art forms puncturing the homogeneity supposedly authoritarian noise space rhetoric, smoothness of the idea of liberal democracy. You know just a puncturing force as well. They think. monocultural logic against something much more diverse in Pali connected and a kind of multi tentacled being like the octopus right the that lives sometimes at the edge that this allows us to break down some of the thinking that is actually stifled us an open up new histories, new ways of telling. So I'm really trying to do that now in a new work. Called at the edge querying, complicating these spaces that have been often bound up I, think the problem with current discourses it's very humanist, not just human centric but humanist people engaged in some of the work of conservation or animal care or whatever leave intact the power relations between humans and animals I. Think. I'm trying to conceptualize in my work Mrs. Alongside Marcus work. snowden Hani hot in others is not had. We make the world a better place for non human actes. But how do we actually destroy the world that humans have built and maybe undo some of the logic having just completely locked into these systems off extraction and exploitation? I don't think there's a way fullwood I think is only away down the pocket. All already been here and being delivered could see of these discursive structures like Hetero normativity, white supremacy, the domination of the wealthy, and that's why. I'm saying we have to undo the mechanisms that keep returning us to systems within which the same people have the power over and over again in the next phase, we have to impact inhabit the arenas within which we are uncontrollable ungovernable unmanageable. We can't keep trying to say, no, no, we we want to be managed. We want to be under the purview of the nation and the state. We actually have to embrace the wild accusations, Dr Hulda minority communities, and turn.

Huxley de Colonial Studies Dr Hulda Ecology College Queering de
"visu  ality" Discussed on The Popcast With Knox and Jamie

The Popcast With Knox and Jamie

02:59 min | Last month

"visu ality" Discussed on The Popcast With Knox and Jamie

"Are you insane? You're hottest et CETERA? No this was. So He John was so good Robert. Pattinson I. Love Him. Aaron Taylor Johnson was in I wasn't a hundred percent sure. He was entertain Johnson was feels like steroid up Dean ratcliff. So it always throws me for minute, oh? Yeah. Because I can see Dean Reynolds decided he married a much older woman. They're still married good for him what a what a low bar. That's all we ask for. Did you like how Elizabeth the? Hair was racing movie. Metaphor for something, I could tell there are two things that I noticed about going to the theater. The first is that both. Amband spoke out loud during the show. You're like your that was your first thing was get your hair out. I'm never going to be a streaker that was as close as I got distracted. Speaking of the can I tell you the thing that was weird because I know that there's going to be all the stuff that like as we get used to going back and some of you obviously way used to going back in public all the time. It's a little shade. LABAT's regressive for some of us. It's like I realized that this was the first thing I had watched that was not in my house like. This I'm not watched admit in anybody else's house to watch anything. This is the first time and the reason I noticed it. So viscerally was because at the beginning I went uh-huh there are no schools caption. Yeah. That was an adjustment for your boy as. Like well, when the sound mixing that would was, my biggest critique found wasn't mixed very well winning an Oscar for that. Again, I would just like to understand what's happening and also be able to hear what's happening. It's not so many different types of people talking and like no one was considered I mean we had like we had American accents we had posh British accents, sketchy British accents. We just had a million different types of folks hockey did. So I never knew I was like I don't know what they're saying, and then I was like, why do I not understand what they're saying and I'm like, Oh, I normally read what they're gun very reliant. Aired even said, should we should've told them to turn on the. Here's the thing the the I've got to and it was great. Do I think you need to risk it to go to like an am Sierra Regal or Karma? Know we went to a theatre where I felt like I would go back there if they were showing other movies. Once a week to, Oh, I would say, don't risk it to see tenant because it's like it'll come on aiming soon enough. Yeah it's yeah. It's too much of an unsatisfactory experience, the risk it. Though for me if I had just had like if I could watch it again right now I would so that I could now be like now I'm GonNa catch even more stuff because it is hard to it it's very difficult to understand. Is there an he's arrived the line between being independently charming and also just not being one like you have to watch the six times understand because I will say with inception and interstellar with Chris Films you can watch it and be like I didn't understand that all these people are we're having a good time. Yeah. There's a there's a visu -ality with those movies like especially with inception it's like Juno is flipping the world upside down. So cool. Even though you don't are seeing what's going on it looks cool..

Aaron Taylor Johnson Dean Reynolds Robert Amband Dean ratcliff Pattinson Juno John Oscar Elizabeth Sierra Regal Chris Films hockey
"visu  ality" Discussed on The Art Newspaper Weekly

The Art Newspaper Weekly

15:40 min | 6 months ago

"visu ality" Discussed on The Art Newspaper Weekly

"To begin the art and artifacts the furniture and ceramics the textiles. Everything around him played out. In a minor key the ideas of autonomy scale truth to materials and color that field his art they also formed their own concatenation of links and overlaps cutting through different towns at across all kinds of local cultures and he built his own museums or possibly a few of them in the charity foundation and in his own dwellings and workspaces many of which were brilliantly readjusted houses and industrial buildings he brought the clear totally revealed volumes of his sculpture into habitable space and also into the design of furniture. Having both these endeavors a rare. Seeing the whole room visu -ality he also was to some extent a librarian. Arc Avesta political and social thinker as well as sonar historian writing. In recent years on the Russian constructivist the abstract expressionists on Mondrian Reinhardt and Albers paying tribute to with fresh insights and also charting his own artistic ancestry judd could also it must be said be his own. Worst enemy possessive intractability a temper and a defensiveness that often escalated reachable differences and normal disappointments into irrevocable breaks. John was famous for his feuds. His nearly complete lack of doubt usually served him well in his art and writing. But it could limit his capacity for empathy which didn't always work so well when it came to other humans but most people who knew him remember moments inspire goodness and generosity which were basic to his personality as his anger and dissatisfaction. Sometimes it seems. The judge wasn't interested in other humans as much as in the vast geography of Human Endeavour in learning about preserving parts of it that he deemed valuable at adding something to on as many fronts as possible. Things that exists exists in. Everything is on their side. He wants wrote his love of things that existed extended to the natural world Here everywhere. The destruction of new land is a brutality. He wrote in Marfa adding. I've never built a house on new land like everything else he did. Judd's riding has a distinct undistinguishable quality. It's spare forthright. In peculiarly stylish characterized by compressions of both language and feeling and occasionally punctuated with adjectives. That sound a bit. Archaic Butter actually quite specific to use one of his favourite compliments. Alternatively exultant for the new art that seemed to be emerging under his nose and exasperated with what he perceived as unnecessary faltering of abstract expressionism. The reviews are written very much in the trenches as working critics like to say but are always fearlessly opinionated and frequently generous singing the advancement of our as a communal project for which many people are responsible for example quote Brooks declining Guston and motherwell are adding poor paintings to their earlier. Good ones he wrote in nineteen sixty four and the loss of the good ones. They aren't painting is a major loss for American art. One review of the New York painter began the fact and number of the Jealous Students of the New York. School make an unusual failure and by the way. Jeld was one of those words. I had to look up. It means frozen extremely cold in the early fifties any number of development seemed possible. Most of the beginnings quickly ended in shuffled retrograded versions of their first coherent idea. It is ironic thinking which was supposed to exemplify freedom should have assumed such suicidal rigidity. It has taken with exceptions a new set of artists to continue the advance. And he's of course referring to his own generation similar but more sympathetic sentiments occur in the end of a review of two other New York painters any criticism of pace and doug bore and other Moribund expressionists is laid to a bias in favor of newer work. Actually good expressionist painting if especially among the artists with whom it originated would be highly welcome. The debacle is a sad thing. Artists cannot develop a style if he must always jumped to numerous things assuming he started with something fairly contemporary the general declaration that abstract expressionism and loose painting. Generally is dead is presumptuous. It seems so now with so much work around but history while does move does not move that fast anyway that history is consensus and abstraction older painters to learn from the new could be highly praised for example on Stewart Davis's show of paintings from nineteen fifty eight to sixty two which he considered first rate the quote amazing continuity of Davis's work does not seem to have been kept up with flying colors in fact could not have been neither Davis. Vince startled into compromises with newer developments. Some older painters abandoned develop styles for one of the various ideas included under abstract expressionism spoiling. Both Davis must also have faced the fact of increase power in different meanings instead of compromising. He kept all that he had learned at inventive and taking the power into account benefited when art was not up to his standards. Judd'S OPENING SALVOS BE EFFICIENT AT amusing. I this poor baskin second basket his mediocre anyway. His most notable work is so rudimentary in composition. As to make the use of the word debatable. Another opening of a review not about Henry Moore starts this way quote the atavistic imagery of Henry more stupid. Without Moore's formal power is the modern aspect which some liberal minded sculptors obfuscate ordinary chunks of the world. This double barrel. Boorda is responsible for the vitriolic tone of this review of course could be equally efficient one impressed one of my favorite praising openers written of a show of Frank Stella's copper paintings quote criticism is pretty much. After the fact Frank. Stella's paintings are one of the facts at a memorable closing line of a review of Lucas in our show. Samara says work is messy end improbable as well as exceptional and should present a general threat too much current cleanly dullness judd had admitted often stated low tolerance for representational painting. That accepted only. A few artists primarily Rosen with Liechtenstein. John Wesley. A review of an English landscape painter begins Patriarch about thirteen. Twenty seven climbed Malva to near having young. He was accompanied by the belief that the view from the top would be significant and unaccompanied by his friends. Who saw no reason to go? Patriarch was right for six hundred years and now his friends are right but he could give credit where he thought it do. Even if his interest did not lie in that direction in the early sixties he complains about the exclusion of Andrew. Wyeth from Whitney annual which seems to consider the right wing alive. Why if at least believes in his work enough to be confident and thorough and should be included he is nearly alone on the right however and exuberant review. Of A show of Lichtenstein's paintings seems to outline later often bitter writings on American life in politics quote a rich memorable and hugely satisfying new show by the author of I don't care I'd rather sink in an idyllic frame of mind. He has painted sunsets. She escapes and the Temple of Apollo. These are different from comics. Aside from being painted differently lots of people hang up pictures of sunsets. The see notable buildings and other supposedly admirable subjects. These things are thought laudable agreeable without much thought no one pays much attention to them probably. No one is enthusiastic about one. There isn't anything there to dislike. They are pleasant bland in empty and then he sort of us here at the start of a screed. A lot of visible things are like this. Most modern buildings new colonial stores lobbies most houses most furniture most clothing sheet aluminum and plastic with leather texture. The FORMICA like would the cute and modern patterns inside jets and drugstores who has decided that aluminum should be textured like weather not out COA. Who makes it to them? There is just a demand it's not likely any of the buyers. Think much about it. The stuff just exists not objectionable too. Many people slightly agreeably too many basically again. No one has thought about it. It's in limbo much. Political opinion is like this much religion much art of which the chrome Os are an example. Most opinion in fact musicals. Ice Shows graduation ceremonies. No-one knows anything about Greek temples. And everyone agrees they're great. Liechtenstein is working with this passive appreciation and opinion. It's part of these paintings and is an interesting and complex aspect there. It isn't adventitious as social comment is supposed to be. It is social comment and it is visible enthusiastic. Reviews could oscillate between making almost magisterial grandeur the beginning of Nineteen Sixty Review John. Chamberlain's work three aspects are readily apparent in Sham Berlian sculpture. It is redundant each contains a distinct structure and it has color. The folded sheet metal from automobile bodies is voluminous apparently somewhat unmanageable and constitutes an essential form. That is less than its bulk requires it is grandiloquent proliferating exhaust pipes rods and bills of metal exceedingly. Kane on remaining junk and proud to be confused with an ordinary wreck and the extensively descriptive finish of a nineteen sixty three review. A Lebron ta-chou's talking. About one of her release. It is a minitories object seemingly capable of firing or swallowing the image extends from something as social as war to something as private as sex making one in aspect of the other. The Best American art is in diverse ways. Skeptical bonded who makes her work. So strong and material that it can only assert itself. It's quality is too intense to be extended into solid cystic generalizations..

Judd New York Stewart Davis John Wesley Liechtenstein Frank Stella Henry Moore Mondrian Reinhardt Marfa Jeld Lebron ta-chou Albers Sham Berlian sculpture Vince Kane Chamberlain Malva Boorda Samara
"visu  ality" Discussed on The Ezra Klein Show

The Ezra Klein Show

12:49 min | 8 months ago

"visu ality" Discussed on The Ezra Klein Show

"On apple podcasts. Spotify OR WHEREVER YOU LISTEN TO PODCASTS. Another section on something. That was very formative for you. That was super interesting. Because I'm trying to get better at this myself. Which is the work you did. D worked at a museum and you did forks on contemporary artists. And you have this great line where he say he began to appreciate contemporary art and visual art as a philosophical inquiry by another means and I wanted to ask you to talk about the ways in which art and being immersed in our shaped your journalism as it went on. Yeah well I kind of shaped my journalism by making it something other than journalism and as a young writer I was kind of unthinkingly accepting of the categories in which writing was divided up and I should add that I knew by my late teens. I wanted essentially an essayist which is more or less what I think I am although that gets called creative nonfiction more than it gets called essay writing but I went to journalism school. 'cause creative nonfiction was not yet a thing in writing programs. Mfa programs basically taught fiction and poetry. And maybe a little drama. And I'm so grateful. I went to journalism school at Berkeley. I learned lots of things about ethics in resourcefulness and principles and How to put together elite line in a gripping first paragraph and all that kind of stuff but I started writing out of Grad school in three different ways. I work in little art magazine writing art criticism where you're kind of assuming a voice of God. This is my opinion but just take my word for it and then I was writing real straight journalism where there's not even a first person. You're just saying this is what happened. Here's the facts and the nose writing these very personal subjective lyrical essays and they felt like three different things and really. My big breakthrough was going to Nevada test site where the US had set off more than a thousand nuclear bombs as a protester and realizing all three of those voices belonged together that I needed the lyricism the critical analysis that could go much further than being art criticism. The same analysis you take to a painting or an installation you can take do. What does a nuclear bomb mean? How is it socially constructed? What are the suctions? What is what's the VISU -ality what's instill invisible? You can take that to a national park as I did. In my second book looking at the politics of representation that made native people invisible in Yosemite. You can take that anywhere so I brought those three things together to form the style in which irate and so you know I was surrounded by artists and some of them were close friends. Some of them were collaborators and they asked the biggest deepest questions because art is a form of philosophical investigation. What do these materials mean? What does it mean to make? Walter Benjamin has a Beautiful Line S. Now what the Work of art says about the means of production but what is its place in. The means of production artists would ask questions like that in ways. Writing can't because you're just GonNa you know there's GonNa be publishers printers in his book on paper that's GonNa Distributors that. Put IT IN BOOKSTORES. That people buy in retail and Whereas art can be public card or you know social interventions or performance or all kinds of things. The materials have meanings. They taught me to look really carefully at like. What does honey mean what does would mean what does blood mean? What does hair mean? How can you look at these substances all around us? That have inherent meaning beyond representation. What do our gestures mean? What is the act of making? What sort of shamanic ritual connective making be or what kind of labor is in? What sort of recompense can be so artists? Were asking these huge huge questions and they really taught me to ask bigger deeper questions than I think I would have learned anywhere else and that also shaped the writing and again like being involved in native American land rights struggles that I was in the ninety s like being on the edge of the queer community and having queer friends being around artists and in the art world was such a huge part of what formed me and something that I feel so lucky for Jenny. Odell is wonderful visual artists ensure the scrape book how to do nothing and and she has line that Artists are orchestrators of attention. Yeah it's a nice way to think about both arden in a different way writing and I think a good way for writers feel responsibility that if you're an orchestrator of attention what you're shining attention on and what you're not shining it on you vote line elsewhere in your book you talk about. How for every chapter in there all these chapters that are unwritten and which those are really important that I think taking the responsibility of being an orchestrator of attention seriously is something that we don't discuss enough in be eternal. Some school are just within the journalism profession. But but in writing more generally it away you could paraphrase that. That's part of this conversation is how do you bring the limelight to the margins? But that is one of the great things artists do as they're like. Here's the dominant narrative. Here's the conventional framework. What's left out? What other ways are there to tell the same? You know the story of the same phenomenon. The same event the same population. Or WHO's being left out of this that we can bring in and so they become these kind of import export smuggler. People bringing things in and often some. You know doing this symbolic work to bring into a very rarefied privilege place like a- museums. No these outside the stories from outside and part of what Sunday artists of color in particular have been doing forever net but now that we have artists of color and museums. But yeah but I think shifting where the tension goes is such an important part of the job. There is a way where people do end up all looking at the same thing and saying oh but so and so told that story better rather than is there a completely different story. How does it look from the point of view of the different person? What we're calling me too is Hey let's listen to people. We never bothered to listen to before. And Oh my God when we do we see. There's an epidemic violence against women and it's happening to the most famous woman we know and it's happening at the highest echelons and it's impacting us in ways we've never been willing to acknowledge. And it's actually what I think is made my lifetime in unfolding revolution. You know. I'm the same age as Jane. Jacobs the life and death of great American cities a book about urbanism a Year Younger Than Betty. Freedons foundation all the feminine mystique About Women's marginalization. I had two years older than silence. Bring Rachel Carson's extraordinary book that really gave to the environmental crisis and visibility to what was going on in the margins which are the pesticides with killing the whole ecosystem and corporations in the scientists. They paid off. Were Defending Ed. But this real science pointed to how dangerous it was for every think and so my whole life has been seeing this amazing prospect of people. Swimming into view are fighting to come into view. And you're like gay rights really predates do you know the sixties and is a very California thing with the mattachine society and the daughters of belied ass- in San Francisco and La starting to advocate for treating non street people sending other than mentally ill and criminal and you know and this process keeps going on and in this moment. It's so easy to say like we're now so fully woke in awesome and have it all right and we can put down anyone who isn't as woke us whether it's the person who didn't get the memo from the cutting edge analysis last week or the people who are alive fifty or a hundred years ago but I always try and hold space for the things we don't see it that maybe we're going to see in a year or ten years or fifty years. 'cause we we're not we will never be fully woke. We have our blind spots and so they I talk about in. This book is things that are so unknown that we don't know they're there and this is where the process of waking up is somebody starts to talk about something and often we don't even have words for it. Feminism has done so much work just creating the words to describe what experiences are being manned splaine to a y intersection. -ality matters of what rape culture is. I- workplace sexual harassment was a term invented by feminists in the seventies. We didn't have a name for it and before we could name it. We couldn't take it seriously. They're summoned much. Language has come forward to help us see things until you. You know often until you name something. You can't really describe it till you describe it. You can't do something about it. So we have this amazing process. This great collective process going on. We see it happening around climate and environment and around disability rides around Trans Rights at Sarah of defining naming describing defending opening up space for and. It's always great collective project with many people on social media some people with bigger platforms researchers giving new evidence and buttressing experiences with statistics and data. And it's this great experimentally during which is terrifying. If you look at the resurgence of authoritarianism and right wing stuff around the world and the galloping pace of climate catastrophe but exhilarating as these transformation so profound I feel a few people even recognize how huge they are. How different people? We are then who we were fifty or sixty years ago as these things go on and I think all that is wound up together right that yes transformations have been so profound that I think part of what we're seeing in the rise of right wing -Tarian zome and some of the The real revanchist backlash movements. That I don't want to call them a price of progress. I think that's putting it much too simplistically but I think that there is a way in which you have to the we. We often seen as competing stories. When they're one story that they are they. There is some amount of I remember as a Jewish person watching the CHARLOTTESVILLE. Alright March and seeing these white supremacists in their Khakis and they're button down shirts yelling. Jews will not replace US and thinking as scary as that seen as the fact that you feel Jews are replacing you even though we're not there's some part of me that thinks that the space of weakness you feel yourself to be shouting from. There's something a little bit encouraging about it Uris Yeah. I'm just a framed as backlash. That's how I feel on my good days is that they're so upset and angry and freaked out that women and people of Color and Non Christian people are GonNa you a non nonsense. Ginger people are going to have some space in voice in some power and I think it's their own imagination that it is zero sum game. It's some sort of hobbs. Even more of each against edge that there isn't enough to go around and so many American stories and this goes back to rain but reaganomics tax cuts are that. There's not enough for everybody. One of the big changes. I WANNA see his. Tell a story of abundance. This like everyone can have everything. We're the richest society that has ever existed. Everyone in the. Us could have a home in education and health care and really nice food and that would mean rich. People have to give more. But Hey Elizabeth Warren two percent wealth tax is not a hundred percent wealth tax..

US Spotify Mfa writer little art magazine apple Walter Benjamin Yosemite Nevada Elizabeth Warren Grad school Rachel Carson Berkeley Odell reaganomics Jenny arden Freedons foundation Jacobs
"visu  ality" Discussed on Classic Movie Musts

Classic Movie Musts

14:47 min | 1 year ago

"visu ality" Discussed on Classic Movie Musts

"Opening in nineteen eighty two against the ugly cute alien of Steven Spielberg's e t the things unseen, yet, malevolent alien, and it spectacular evisceration, and incinerations was a box office failure for John carpenter, carpenter's. The thing was it self remake, of course of director, Christopher nineties, nineteen fifty one Howard hawks produced the thing from another world. Which was it self based on John Campbell juniors? Nineteen thirty eight pulp story who goes there, yet, like its protagonist long frozen in Arctic ice, the thing perversely lives on a viral zombie that has been remade, preserved dismembered transformed and passed on through John rose, and media includes video games, YouTube Omayad, his fanzines, blogs and documentaries as. With the mode, viral reproduction the phenomenon of the thing, no longer necessarily bears, the DNA of its murky origins in Campbell's pre World War, Two United States when waves of European immigration had triggered Zena phobic. And 'isolation est reactions, while the alien takeover in the original was resolved by a macho glaciologist, who takes command over a dithering biologist. He dismisses as overly identified with the creature. He longs to preserve and study carpenters version of the plotline is more classically, looping, refusing narrative closure as well as any clean distinction between humans and things the basic shared through line of the thing devolves from the discovery of a UFO embedded in the Arctic ice and its subsequent accidental thawing setting off an inter species competition for survival. Neither species conserve. Survive alone on ice. Each requires a network of some kind for humans. This network is society, specifically the hermetic homosexual world of the quasi-military science outpost, the things mode of social and biological. Survival, however, passes through an among individuals bodies as it reproduces through imitation. Neither acknowledging nor possessing bodily borders, even the grammatical naming of the thing is a singular epithet that is always also an unidentified plural in the nineteen thirty five story. The thing came equipped with standard issue red beady eyes and loathsome tentacles, but it was the things ability to infiltrate the dreams and thoughts of men that carpenter elaborated on in his screenplay of the paranoid, infiltration, or infection of the base, in, which one man after another becomes perfect. Early. Imperceptibly imitated by the thing in the nineteen thirty five and nineteen fifty one at a rations. The threat was amenable to externalisation as a monster. It was gleefully incinerated by military flame thrower, in nineteen thirty five and in nineteen fifty one by DIY style electrocution clearly staged as a post World War. Two populist rejoinder to techno science, and the A-Bomb by nineteen eighty-two nuclear power had become the thing to fear itself. And carpenters, final scene is thus a version of an arms race. Standoff, the only way that humans who in all versions of the thing, have an irrational attachment to their already processed bodies. And to cleave superstitiously fictions of individuality nation on, which roic resistance only feeds can do two things viral reproduction is to deprive the thing. Of a host a decidedly puree victory. The two last men who could either or both already be perfectly imitated, things slowly freeze to death locked in each other's gazes in the firebombed, ruins of the station, carpenters version of the thing, emphasizes the alien object as a metaphor for the pathological integration of science medicine, and military as a force that imitates other lifeforms perfectly and wants to hide in imitation. As the characters put it the thing, symbolizes, the ongoing blurring between that which is strange and familiar, and that which is ally and foe instead of depicting crew victorious over an external menace. The film dramatized the transformation of a peaceful collective to a collection of paranoid. Individuals terrorized by each other the men begin to show signs of panic by yelling accusing an. Arguing with each other as the leader of the fight against the monster McCreevy laments that nobody trusts anybody now. And he warns prophetically that they are not getting out alive, but neither is the thing reviving planetary. Evolutionary estrangement lost in the nineteen fifty one films resetting in the inhabited and ally contested North Pole carpenter. Reset the action to Arctic. The isolated Antarctic setting as elaborated by carpenter introduced a problem of environmental limit as carpenter relied on the ice itself, not on national surveillance to contain the spread of the thing to the rest of the world. He also used film celluloid, as well as autour theory and practice and the codes of the scifi genre. Two question forms of preservation and limit in the film's final sequence. The visuals and soundtrack. Simultaneously fade a reinvestment in a fantasy of film as theater, and the very individual slash nation complex that the film's paranoid narrative of the limits of individuality, so successfully challenged yet, on the level of the celluloid film real the camera and heartbeat soundtrack, fade out simultaneously and the screen goes dark and silent leaving the two men trapped alive in their celluloid animation, put another way the film ends, but the narrative of the things veracity does not in. It's endless ability to reproduce through imitation, which is a form of cellular splitting at the root of all biological process. The thing disgusts, the human characters who use guns flame. Throwers TNT the codes of the horror genre itself. And finally a nuclear like explosion to destroy it science. Is equally. Impractical at solving the problem. Presented by the thing, given the context of the late nineteen seventies and early nineteen eighties. We see a lack of faith in supposedly, enlightened institutions, rather science becomes associated with themes of doom terror loss of agency ineffectual resistance to threats information without practical application and failure to distinguish nature from imitation. The hard limit shared by all of the things narrative, is polar and Arctic and Arctic ice more than a convenient setting for the locked room alien who done it or a dead zone or barrier between the outpost and the rest of humanity. The ice possesses a non human and non biologic vitality outside the temperate norms of both human, and alien embodiment, carpenters. Classic plot was punctuated driven through multiple axes. Of viral production, not the least of these axes of extra digest production, or the things celebrated pre-digital, special effects, the spectacularly transforming de materializing exploding bodies of the dogs and humans, and aliens of the outpost were created with wax bubble gum paint actors and camera, and celluloid cuts the direct to'real decisions and editing slices practically gush with real fake blood, but less noted retro effect is the film's most crucial imbedded seen a close camera shot of the doctors computer, screen model of the cellular modus. Upper end of the things exponential takeover should it escape the ice barrier of Antarctica in this sequence film becomes computer screen to visualize the central mystery of the plot. How an alien seems to be ripping? Through the population of the south polar outpost, transforming its animals into copies of themselves undetectable in final form yet gruesome when captured in demystified goose spurting processes, the things computer graphics now seem quaint rigid. One dimensional and slow more. Pacman eats palm, this is computer simulation, as projection a predictive visualization of computer modeling through data coding and computer generated visualization, we can supposedly visualize. What we cannot actually see in time, and yet we've seen it over and over this gathering around the crystal screen for the visualization of the coming disaster is a staple now of popular culture as well as of science looking back on this singular stock piece of techno future ISM carpenter's. The thing therefore brings on the shock of the old. Predictibility while a goal of scientific method is just playing cheesy in the horror genre. Carpenters greatest genius is not the invention of his special effects, but narrative and celluloid, perhaps, even cellular in fixing a faked credulity to ensure into stabilize cascading scales of affect bodies screens, and narratives get in a plot whose overall arc relies upon and even seems to reproduce a reactive attachment to the human carpenter's. The thing calls into question human non human distinction in every seen before the spectacular animal human alien, spewing begins and early scene of the loner hero, McCreevy playing a game of computer chess, retrospectively, encodes, commentary on the digital processes that have taken over the analog special effects of the film not to mention. The themes of zero sum systems, and the human artificial intelligence interface in a close up. Mccreevy concentrates on a move staring into the screen of a PC box as a female voice proclaims. Checkmate, McCreevy facetiously ascribes human motive and gender to the chest program by pronouncing. It cheatin- bitch and pours, his J, N B into the hard drive causing a mini explosion. At this moment, the machine passes, the turing test conceptualized in nineteen fifty by British mathematician, Alan turing as a way to test his prediction, that computers, would eventually become indistinguishable from humans, McCreevy's, her roic grenade is tossed at the wrong object since the computer is indeed just a box of electronics, but it's program is viral reproducing beyond its box, thus cheetan bitch is the grousing of a ruined man who no longer can. Compete with the system. He designed this moment is the real test of the film, not the red herring blood test McCreadie later devises to prove as he absurdly boasts what he already knows, which is that he is humid, not a thing in this scene of coercive, scientific testing McCreadie, two deuces of the alien, what if it's alive in each of its parts, and he is correct about the nature of the viral. If not the distinction between things and men like all the scenes the parts the characters, and the disembodied voice of the computer, none requires the fictional cohesion once offered by narrative and the human another moment in which the thing passes. The turing test is even more inter textual in carpenter's. Most celebrated special effects scenes, a human head drops off a body sprouts legs. And then scurries off screen the scene of bio, Morphing, estrangement elicits the line. You. Gotta be fucking kidding delivered in a stone or outrage by character who in retrospect, the plot points to as the first human to have become a thing or the original fake, no view offers of the alien thing of things or the thing should believe there is even less should they believe in their eyes virology reproduction through disassembly, disintegration and reintegration without end has undone the integral primacy of the human embodied optics, and thus the visual data driven grasping of the world that this scene also routinely, and universally fools, even repeat viewers points to the less remarked upon but more important motive I rally as it swarms outside and in between the limits of John rutta through time across the characters of spectacle, and from the experience and memory of you're too viewer as well. The viral becomes a mode of production. Beyond narrative mind, biology, Visu -ality or Gina, the thing, not only passes the turing test, it, does the reproductive ligature 's of the logical test as McCreadie explodes, the computer and later, the base itself, and all the parts and wholes of the human, as a better imitation, carpenters narrative, is self knowing enough, not to attempt the narrative, cultural fantasies of its precursors, and yet, despite its irresolution, and the innumerable red herrings, bursting from the nineteen eighty two plot like so many poorly, assimilated body parts. It seems pretty clear now that the viral nature of media transformation has ensured, the failure of any film remake..

John carpenter McCreevy John Campbell John rose Steven Spielberg United States Howard hawks director Christopher nineties incinerations John rutta Antarctic Gina palm
"visu  ality" Discussed on The Deconstruction Workers

The Deconstruction Workers

14:32 min | 2 years ago

"visu ality" Discussed on The Deconstruction Workers

"Feel like you are marginalized of the centrality of the merit of than you would think. If you are women of color, you would be even more prolific because there'd be more ways, you were shut out of the narrative in the first place. Absolutely. An M. We have plenty of numbers about the male female breakdown in fantasy. And we actually there was a study put out by archive of our own said more writers on that particular website identified as gender queer than male. Yeah. I found that incredibly interesting, and we have all sorts of theories exploring Queen os's role in van fiction in the way that adolescents in particular are exploring various actualities on this on this kind of platform. But at least in my research, I haven't come across much regarding race as far as fiction goes. Just three months so typical unfortunately. It's very unfortunately stereotypical. But I do wonder if certain kinds of narratives would be more open to Fareham fiction about race or about gender clearness or about quotas in general than other kinds of narratives here. I'm thinking of people right Harry Potter fan fiction. For example, Harry Potter's fairly open world, lots of different kinds of characters exist in that world. And so it's pretty easy probably to create fan fiction around lots of different kinds of identity narratives Star Wars a very insular universe. Even though it is inter galactic. Fewer kinds of characters. I think fewer entry points. If that makes any sense a possibility. I also wonder if it's a medium, right fantastic. Shen? I wonder if there's more inclu-. Asian people color in more visual works. So in fan are another time of fan art out there, featuring characters reimagined as people of color black reminding Indian, Harry Potter is one of my personal favorite head can't ends. So I'm wondering if there's Visu -ality Inbal to it to distinction to make that isn't really a distinction at all right fan art is fan fiction. It's just not the written word just as Finn editing is also fiction fan editing for those of you don't know is when somebody takes a movie or series of movies, and re edits the movie adapted in a different way for particular narrative purposes. So for example, there's a really great one out there. Harry Potter fan at it called the boy who never lived, and it's a version of Harry Potter in which Potter dies in the beginning. And it's this whole reimagining of the story. That puts her Miami epicenter of taking down more. And I think it's really interesting in that it's not a completely new creation in the way, lots of fan fiction stories are where they take the narrative and go off in a completely different direction. But it is a fan fiction in a different medium other than the written word that restructures the narrative starting I've been seeing this term more and more in the research to refer to this very broad community of people creating things as fan work rather than fan fiction. Right. It's more clues like family using fan Art Van at its fan. Everything the other word that I've heard thrown around quite a bit which full disclosure, I have an upcoming book that I'm publishing coming about. Is this term trans mediated or trans mediation, this idea of taking a work and moving it into a new medium in a new. The way that it wasn't necessarily intended which sort of also brings up this idea of fan work of adapting work in ways that are unexpected. And I think there's an element of it that's necessarily unauthorized one of the key elements of fan fiction. Is that feigns don't ask permission? It's not like they're going to the author. And being like, hey, can I write a new story with your character? That's not how this works. Why did things that shocked me going back to researches grad student someone who was very much involved in fashion like middle school was that most of us are total criminals of what we're doing is legal, right? Various levels, by the way of support. From the original offers absolutely pretty famously their authors who are really supportive offend fiction. JK rolling tends to be pretty supportive. Big is actually, you know, occasionally still writes fan patient from time. I'm Stephanie Meyer tends to be Stephanie Myers. An interesting story. So Stephanie Meyer, the creator the twilight series actually has links on her website to twilight fan fiction several authors actually have that now, especially if they really really love fanfare, but seventy miles an interesting case because e l j. Aims obviously profited off of fiction that she wrote about twilight. I don't know that everyone really knows about story that this that fifty shades of gray was a twilight fan fiction originally began as twilight fantastic shin called master of the universe. I think it's actually still floating around the internet in some places, but in order to publish she did have to basically scrap all the serial numbers off of her fantastic. This is not Edward. And bella. This is now these other characters definitely not empires. Definitely not vampires the corporate business, dude and his concubine. I'm very unfamiliar with fifty shades of grey, thankfully in some ways. But then there are other people. And here I'm thinking of Georgia are Martin became a thrones who are very openly against fan fiction for a variety of reasons. I think enjoyed our Martin's case he is against fan fiction because he thinks it's a bad idea for people who wanna be writers not to get into the habit of creating their own universes. I think his more technical more technical opposition as opposed to an rice interview with vampire parlous stat who has been really openly sort of emotionally against the idea fan fiction. Does a really interesting cases because people who have shown support for fan fiction. Like Dickie rolling have seen a tremendous benefit from it. They're basically getting free advertising. They're creating this community that keeps going, and she doesn't really have to do anything for it. But it's incurred edging the sand to keep going. Here's the books were originally published. Whereas when you get into many, many more authors against fan fiction that are favor of it. Many of them will hide behind the legality of it. Like don't do it at legal Orson Scott card famously threatened to sue anyone who wrote any kind of fan fiction about his work. But he recanted. He did he came back. He was basically like this is advertising for my book. And so why wouldn't I would most port this? Everyone was like well because you said on your website one time that it was like coming to your house and kicking your family out in the street. So you reconcile that. But yeah, these authors very visceral reactions to. Faction, Diana Gabaldon who wrote outlander series? I think said that it makes wanna barf when she accidentally comes across it. But she also recanted. And now is totally favor of them fix their agents got to them or if they realize that it was that Bischel or maybe read a really good vantage like, oh, all right. Not so bad after all, I wonder too. It's because you know, as a writer eighty cents much time with these characters, you know, one on one creating them and built an rise in Georgia are Martin have have almost referred to them as like, oh, these are my children. And when you take them, you're kidnapping them, stealing them Niknam do all these things. And that's usually I mean, a fair thing to say, I guess, but they also kind of hide behind this kind of ownership ideas and ownership of stories that I think is really counter counter created counterproductive in our kind of society, especially McCue juror Martin because one of the things that I have to say to my. Students in popular culture. Studies is no author could possibly hope to know more about their own world than a dedicated fan. A dedicated fair will oftentimes have an encyclopedic knowledge of the author's world. And remember things about the text that authors. Oftentimes, forget themselves to the point where Georgia are Martin actually employs agai to keep track of the history of his world that he cannot be bothered to keep for himself of his own characters. So that he basically has his own dramaturge is to comes in and says, actually, you're contradicting thing you said here. Yeah. I mean fans no way more about work, then the creator can can em or hope to know because they've studied it they've become these fans Bryant over and over again. And in the case of transformative fans as opposed to curate affirmative fans, which you've talked about before on this podcast transformative fans are actually adding their own interpretation to it though. Whatever beef you have with that as an author. They're not pulling out of nowhere. They're taking your works and telling you what they think of them. And I think there's nothing more flattering than that. I would. For someone to not only love your work. But no so much about it that they can create within that world, especially the fan fiction authors who are able to give that some sense of. I don't know what we might call versatility. Right. Some sense of truth as though it were written by the actual author. Those are the best fan fictions the ones that are so good that you would be like if you didn't know it was fan fiction. He would say while this must have just got cut out of the book or this be unpublished work or something. Insert yourself, and this narrow love something so much that you wanna be a part of it. I think also really beautiful moving thing about fandom, especially transformative fan though, this this fictional work occupies such a space in your consciousness that you literally physically want to be a part of it. But you want to expend a similar energy to create within this world because that world means so much to you. There's something sort of beautiful about absolutely and the fan community is specially with regards to people who are creating fan art fan. Whatever is also so supportive of each other. Even at the authors, aren't you know? Yeah. Even if office don't care the fan communities absolately do and fan fiction as regards the written word, at least is often a very collaborative authorship process. You will have people commenting on your story to go. What entity should make those sorts of things which is why going back to finish eight grand fandom community was so upset because they felt like they had given her this free labor, basically being her editor being agent, and then they dig in anything back from that will also positions the text interestingly for me in that fan fiction is oftentimes used as an insult lily this. You know, this is quote unquote, just fan fiction or this reads like fan fiction I've seen this quite a bit. You know this reflect fan fiction as though inherently fan fiction is inferior. Right. And I think that's very gendered you to bring it back around at the beginning. I think it's because it's largely women producing these things, and it's four no money, which in our capitalist society. Renders it, basically useless. Right. So why would you creating this thing if you're not gonna kick that from it? And that's where we also draw the line between, you know, adaptation in fan fiction is was created for commercial consumption, although coming out of my work at Harry Potter studies. This brings up the case of Harry Potter in the person child Potter the cursor child not written by J K Rowling produced on Broadway, actually, produced in the West End in London, and then produce on Broadway and lots of feigns with in the Harry Potter community have labeled that text which is at uptaken, technically. But have labeled that text as just fan fiction in order to push it outside of what we might call the cannon. So that it doesn't count right? This is all fan fiction. It's all imagine. Nothing that happens in the cursive child matters for my understanding of the pure story. So I think that's another distinction that we could and maybe even should make is this idea that fan fiction is fun, but doesn't quote unquote count. Carter and her distinguish as we move towards a media era of collaborative authorship. Whereas before it was really easy to say what was cannon. It was whatever the author had written down. Now when we're talking about movie franchises. When we're talking about the stage adaptations when we're talking about plays limiting about toys in end game. They get much much harder to distinguish you know, what is official. What is the word of God authored author approved cannon versus one is just you know fan fiction. Would we draw between different versions of the same taxed that are commercially available versus versions of the texts that are not commercially available or are available for free yet still

Harry Potter writer Martin Georgia Fareham Stephanie Meyer Visu -ality Inbal Diana Gabaldon Shen Art Van Finn Miami kidnapping middle school bella Dickie Edward Orson Scott
"visu  ality" Discussed on Phantom Power: Sounds about Sound

Phantom Power: Sounds about Sound

04:02 min | 2 years ago

"visu ality" Discussed on Phantom Power: Sounds about Sound

"Thank you. Going back now to max 'compensation with Jennifer stove. All three of the sonic color line out on NYU press. And as Jennifer mentioned earlier book, attempts, not only to explain racialist listening in America, but also to trace its history, and she does so by assembling a historical archive of texts slave narratives of Frederick Douglass, Harriet Jacobs, newspaper reviews of black and white opera singers in the nineteenth century, the writing of W, E B, do boys and Richard Wright musical, recordings radio, dramas, featuring the jubilee singers lead belly, Ledbetter, and Lena hone and buying Zaman these as texts stove shows how the sonic colline evolved, and how African Americans documented th-they. Theorized and resisted America's dominant, cultural, politics of listening. There are these different moments that you point out where it becomes really important to listen for race to, to people who are invested in racial divisions because the paradigm of the Visu -ality of race actually gets undermined. So the first of these occasions in the book is has to do with just the mere fact that so many white slave owners were raping the African American women on their plantations and you know, having mixed race children. And then we get into the, the one drop conception of, of blackness and all of this, where it becomes difficult for people to discern by the I what race someone is right. Yes. And the end the fugitive slave law, I think was also part of that, too, when the nation in eighteen fifties. At the same time was then know the entire nation was turned into essentially slave territory in part by that act, it also caused a discernment of can you detective someone slave or free by listening? And so those two things I think working together began to create this language of what blackness sounds like..

Jennifer stove America NYU Frederick Douglass Harriet Jacobs Richard Wright Lena hone Ledbetter