How Freud Got Under Our Skin
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Beyond the Money Shot; Or How Framing Nature Matters? Locating
Beyond the money shot; or how framing nature matters? Locating Green at Wildscreen Sian Sullivan, [email protected] revised submission for Journal of Environmental Communication, special issue on ‘Spectacular Environments/Environmentalisms’ Natural history films use technological mediations to frame aspects of nature so as to communicate information, in part through engendering particular viewer affects. As an entertainment industry embedded in capitalist social relations and concerned with competition for finance and ratings, natural history film-making is also a search for ‘the money shot’ – associated with extremes including rarity, sensational behaviour, and otherwise un(fore)seen views. I highlight this sensationalising impetus through ethnographic fieldwork conducted at the biannual Wildscreen film festival in 2010. Here, wildlife films were frequently presented as action dramas with a rhythm of anticipation, climax and satisfaction. I argue that, through generating significantly disconnective affects, such framing may work against composition of a caring ecocultural ethics that entwines human with more-than-human natures and futures, thus paralleling the similarly disconnecting effects documented for pornographic film. In contrast, I engage with the differently constructive frames guiding the low-budget, open access, activist film Green, which, perhaps paradoxically given the thrust of the natural history film industry, won the prestigious WWF Gold Panda Award at Wildscreen 2010. I follow framing theorist George Lakoff to emphasise that since cognition is both embodied and embedded in diverse inter-relationships, affective registers generating mimetic connection are as significant in communicating information regarding ‘the environment’ as the text and words by which nature might be framed. I conclude that attention to affective registers and embodied (dis)connections in natural history film may enhance a turning of capitalist spectacle against itself, so as to work for composition of abundant socionatural futures. -
Kaplan Recitation Leader: Alex Demshock E-Mail: [email protected] Email: [email protected] Office Hours: Thursdays, 2:00-3:00; Liv
Development of Sociological Theory Rutgers University: Sociology 01:920:313: 01-02; Spring 2017 Tuesday and Thursday, 3:20-4:40PM, Lucy Stone Hall, Room B269 Instructor: Amanda Kaplan Recitation Leader: Alex Demshock E-mail: [email protected] Email: [email protected] Office Hours: Thursdays, 2:00-3:00; Liv. Library Office Hours: TBA Course Summary: It is by no means rare to begrudge or dismiss theoretical texts: often times they use wild and seemingly unintelligible language, provide no context, examples, or applications, and/or reek of real, offensive, and indefensible social prejudices. And yet, theory exists, develops, and continues to be taught. So there must be something to be gained from writing it and learning it, right? In this course, we hope to show you that theory has merit and, what is more, to help you realize that for yourself. To accomplish this, each of us must come to lecture and recitation with an open mind, prepared to discuss and think creatively through each text, and willing to take risks, be vulnerable, and respect one another. Toward these goals, we will learn how to read and critically engage with sociological theory. This entails developing good reading practices; i.e. the ability to read with patience, fortitude, and a “say yes to the text” mentality. This entails honing a critical sensibility; i.e. the ability to identify and interpret sociohistorical context, germane “schools” or “conversations,” political stakes, and oversights. And again, this entails rediscovering your imagination. Indeed, most of the texts we will read were written by white men in 19th century Europe. -
MICRO PUBLICPLACES MICRO PUBLICPLACES H Ans F Rei an D Marc Bö Hlen S Ituate D T Echnologies P the ARCHITECTURAL LEAGUE of NEW YORK
1 1 THE ARCHITECTURAL LEAGUE OF NEW YORK SituateD TECHNOLOGIES PAMPHLETS 6 HANS FREI AND MARC BÖHLEN PUBLICPLACES MICRO MICRO PUBLICPLACES H S THE ARCHITECTURAL LEAGUE OF NEW YORK ituate ANS F REI D T AN ECHNOLOGIES D MARC BÖ P HLEN Situated Technologies Pamphlets 6: A M MicroPublicPlaces PHLET Hans Frei and Marc Böhlen Series Editors: Omar Khan, Trebor Scholz, and Mark Shepard S 6 www.situatedtechnologies.net Advisory Committee: Keller Easterling, Anne Galloway, Malcolm McCullough, Howard Rheingold Published by: The Architectural League of New York 594 Broadway, Suite 607, New York, NY 10012, 212 753 1722 www.archleague.org [email protected] Pamphlets Coordinator: Gregory Wessner Digital Programs and Exhibitions Director, The Architectural League of New York Design: Jena Sher (cc) Hans Frei, Marc Böhlen Axonometric illustrations by Nikolaus Hamburger This work is licensed under the Creative Commons Attribution-Non- commercial-Share Alike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-sa/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, usa. isbn 978-0-9800994-5-4 MICRO PUBLICPLACES The Situated Technologies Pamphlet Series extends a discourse initiated In this volume of the Situated Technologies Pamphlets Series, Marc in the summer of 2006 by a three-month-long discussion on the Insti- Böhlen and Hans Frei propose a unique confluence of public architecture tute for Distributed Creativity (idc) mailing list that culminated in ITORS and information systems that they term MicroPublicPlaces. Beginning the Architecture and Situated Technologies symposium at the Urban with a critique of the current state of the public realm, they follow two ED Center and Eyebeam in New York, co-produced by the Center for trajectories: one through Hannah Arendt’s “vita activa” and Bruno Virtual Architecture (cva), the Architectural League of New York and THE Latour’s “dingpolitiks”, and another through the history of information the idc. -
December 15, 2008 Perspectives in Theory
December 15, 2008 Perspectives in Theory: Anthology of Theorists affecting the Educational World Editors: Misty M. Bicking, Brian Collins, Laura Fernett, Barbara Taylor, Kathleen Sutton Shepherd University Table Of Contents Abstract_______________________________________________________________________4 Alfred Adler ___________________________________________________________________5 Melissa Bartlett Mary Ainsworth _______________________________________________________________17 Misty Bicking Alois Alzheimer _______________________________________________________________30 Maura Bird Albert Bandura ________________________________________________________________45 Lauren Boyer James A. Banks________________________________________________________________59 Adel D. Broadwater Vladimir Bekhterev_____________________________________________________________72 Thomas Cochrane Benjamin Bloom_______________________________________________________________86 Brian Collins John Bowlby and Attachment Theory ______________________________________________98 Colin Curry Louis Braille: Research_________________________________________________________111 Justin Everhart Urie Bronfenbrenner’s Ecological Model___________________________________________124 Kristin Ezzell Jerome Bruner________________________________________________________________138 Laura Beth Fernett Noam Chomsky Stubborn Without________________________________________________149 Jamin Gibson Auguste Comte _______________________________________________________________162 Heather Manning -
Infrastructural Aesthetics in the Films of Adam Curtis
Cultural Politics vol.14, no.3, November 2018. Accepted: 3rd May 2018. “Destabilized Perception” Infrastructural Aesthetics in the Films of Adam Curtis Rob Coley Abstract: The formerly dissident status of the essay film has, in recent years, been exchanged for a great deal of favorable attention both inside and outside of academia. In the more overly moralistic commentary on the form, the contemporary essay film is submitted as a tactical response to a surfeit of audiovisual media, to an era in which most of us have become both consumers and producers of a digital deluge. The work of Adam Curtis is notably absent from these ongoing debates. Yet Curtis is far from an underground figure— he has been making essayistic films for the BBC for more than twenty years and was the first to produce work directly for the iPlayer platform. Using archival images to examine the present, his films produce counterintuitive connections and abrupt collisions that supplant the authority of narrative causality for a precarious network of associations and linkages. This article treats Curtis’s recent body of work diagnostically. It argues that, quite apart from any promise of escape or deliverance, the aesthetic form of his work actively inhabits the rhythms and vectors of contemporary media. For Curtis, the media- technological conditions of the twenty-first century provoke a crisis that is both political and epistemological, one in which sensemaking can no longer claim to take place at a distance from the infrastructure that mediates such processes but is instead thoroughly and inescapably immanent to them, a situation that prevents contact with the outside. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 UNIVERSITY OF SUSSEX Alice Compton Ph.D Waste of a Nation: Photography, Abjection and Crisis in Thatcher’s Britain May 2016 2 ABSTRACT This examination of photography in Thatcher’s Britain explores the abject photographic responses to the discursive construction of ‘sick Britain’ promoted by the Conservative Party during the years of crisis from the late 1970s onwards. Through close visual analyses of photojournalist, press, and social documentary photographs, this Ph.D examines the visual responses to the Government’s advocation of a ‘healthy’ society and its programme of social and economic ‘waste-saving’. Drawing Imogen Tyler’s interpretation of ‘social abjection’ (the discursive mediation of subjects through exclusionary modes of ‘revolting aesthetics’) into the visual field, this Ph.D explores photography’s implication in bolstering the abject and exclusionary discourses of the era. Exploring the contexts in which photographs were created, utilised and disseminated to visually convey ‘waste’ as an expression of social abjection, this Ph.D exposes how the Right’s successful establishment of a neoliberal political economy was supported by an accelerated use and deployment of revolting photographic aesthetics. -
Century of the Self Transcript
Century of the Self Transcript Written and Produced by Adam Curtis A hundred years ago a new theory about human nature was put forth by Sigmund Freud. He had discovered he said, primitive and sexual and aggressive forces hidden deep inside the minds of all human beings. Forces which if not controlled led individuals and societies to chaos and destruction. This series is about how those in power have used Freud's theories to try and control the dangerous crowd in an age of mass democracy. But the heart of the series is not just Sigmund Freud but other members of the Freud family. This episode is about Freud's American nephew Edward Bernays. Bernays is almost completely unknown today but his influence on the 20th century was nearly as great as his uncles. Because Bernays was the first person to take Freud's ideas about human beings and use them to manipulate the masses. He showed American corporations for the first time how to they could make people want things they didn't need by linking mass produced goods to their unconscious desires. Out of this would come a new political idea of how to control the masses. By satisfying people's inner selfish desires one made them happy and thus docile. It was the start of the all-consuming self which has come to dominate our world today. Part One: Happiness Machines Freud's ideas about how the human mind works have now become an accepted part of society. As have psychoanalysts. Every year the psychotherapists ball is held in a grand place in Vienna. -
Borderlands E-Journal
borderlands e-journal www.borderlands.net.au VOLUME 16 NUMBER 1, 2017 Adam Curtis’s compelling logic: the tortuous corridor to the hypernormal Brett Nicholls University of Otago It’s like living in the mind of a depressed hippy (Curtis 2007b) Adam Curtis is a BAFTA award-winning documentary filmmaker who employs borrowed images from the past to construct complex accounts of the political present. Produced primarily for the medium of television (the BBC), though this has expanded in recent years to include digital platforms, his films consist of an idiosyncratic use of archived image and sound fragments: Hollywood and British films, news footage, expert vox pops, television shows, corporate training films, drone footage, film music, sound effects, and so on. These fragments are generally overlayed by a serious ‘matter of fact’, Journalistic voice-over narration (Curtis himself), that tells the story of our times. Curtis is well- known as a polemicist. His films directly question and challenge the proficiency of political elites. For instance, a powerful sequence in Curtis’s most debated and cited film, The power of nightmares (2004), consists of news footage of George W Bush on a podium looking direct to camera. Bush triumphantly announces, ‘one by one terrorists are learning the meaning of American justice’. This image is inserted at the end of a longer sequence that provides an account of absurdist court cases against ‘terror suspects’ in the USA. After the attacks upon the WTC towers, law enforcement, in its various forms, is busy gathering evidence against ‘terror suspects’ inside America’s borders. The film reveals that the gathered evidence is specious and thin. -
Journalists As Investigators and ‘Quality Media’ Reputation
JOURNALISTS AS INVESTIGATORS AND ‘QUALITY MEDIA’ REPUTATION ALEX BURNS (Refereed) Faculty of Business and Law Victoria University [email protected] BARRY SAUNDERS Researcher, Centre for Policy Development [email protected] The current ‘future of journalism’ debates focus on the crossover (or lack thereof) of mainstream journalism practices and citizen journalism, the ‘democratisation’ of journalism, and the ‘crisis in innovation’ around the ‘death of newspapers’. This paper analyses a cohort of 20 investigative journalists to understand their skills sets, training and practices, notably where higher order research skills are adapted from intelligence, forensic accounting, computer programming, and law enforcement. We identify areas where different levels of infrastructure and support are necessary within media institutions, and suggest how investigative journalism enhances the reputation of ‘quality media’ outlets. Keywords investigative methods; journalism, quality media, research skills 1. Research problem, study context and methodology In the land of the blind, the man with a print-out of a Clay Shirky blog is king. (Ben Eltham, Fellow, Centre for Policy Development (Eltham 2009)) 1.1 Study context: The polarised debate on the ‘future of journalism’ It’s currently fashionable in ‘future of journalism’ and similar new media conferences to proclaim the demise of journalists due to social media platforms, and a ‘crisis in innovation’ which may lead to the ‘death of newspapers’. Citizen Journalists who write for local media (Gillmor 2004) and ‘professional amateurs’ or ProAms (Leadbeater and Miller 2004) are portrayed as the preferred future in many university programs on journalism and new media. Some social media proponents even claim, in adversarial language, that journalists co-opt ‘our stories’ from ‘our community’ of bloggers and user-generated content (Papworth 2009). -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
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Anneleen Masschelein and Dominiek Hoens SIGN OF THE TIMES An Introduction1 1. Sign of the times? he title of this collection of essays, “Sign of the Times”, has a distinctly 1980s feel to it. Not only because of the eponymous Prince song that cap- tured the bleak situation at the end of 1980s, but also because the refer- ence to signs and semiotics seems about as cutting-edge today as psycho- Tanalysis, or psychoanalytic criticism, would appear to be… In those now far-away 1980s, both semiotics and psychoanalysis were still considered pilot sciences for the humanities in France and everywhere else French Theory reigned. Freud and Lacan were considered essential reading for scholars throughout the humanities: as Google’s Ngram viewer neatly demonstrates, the absolute peak of Freud citations in English books can be found between 1980 and 2000.2 However, already in his inaugural Leçon at Collège de France in 1977, Roland Barthes warned his readers that it would be unwise to hedge one’s bets on psychoanalysis in the stock market of theories. This advice seems even more sound thirty years later. Even in France — with Argentina one of the last bulwarks of psychoanalysis — 1. This issue is inspired by a reflection that started at the conference “Sign of the Times, Psychoanalytic Literary Cultural Criticism in Changing Paradigms” held in Leuven in 2008, organized by Dirk de Geest, Tomas Geyskens, Anneleen Masschelein, Paul Moyaert and Philippe Van Haute. We want to thank all the participants to this conference for their stimulating contributions as well as FWO Vlaanderen and the Research Unit Literature and Culture of the KULeuven for their generous support. -
Beyond Death's Dream Kingdom: Modernity and the Psychoanalytic Social Imaginary
DOI: 10.7413/22818138043 Beyond Death’s Dream Kingdom: Modernity and the Psychoanalytic Social Imaginary Neil Turnbull*1 Abstract The appearance on the historical stage of Western modernity is often understood as an “epochal event” that overturned an earlier pre-modern cultural condition that was premised on the dialectic of life and death and the attempt to forge a suitable balance or harmony between them. As such Western modernity is often viewed as the emergence as a new liberal political order based upon individualism, radical immanence and the emergence of a new calculating subjectivities and governmentalities in ways that led to the rejection of the transcendent, the metaphysical and the theological dimensions of human life. In this paper, using Hans Holbein’s famous painting The Ambassadors as a point of reference and adopting the oblique position in relation to the modern taken up by the artist in this painting, I suggest that in the 20th Century, largely as a result of an awareness of the metaphysical significance of the catastrophe of the First World War, that modern liberalism was thrown into crisis and the old pre-modern metaphysi- cal problematic returned as new focus of social and political concern. With specific reference to the work of Sigmund Freud and later psychoanalytic thinkers who took Freud’s idea of the death drive as their theoretical point of departure, I show how in the 89 20th century psychoanalytically-informed practitioners attempted to resolve the ancient conflict between the forces of life and death through the creation of an enchanted phantasmagoria of mass consumable objects that were often specifically designed and Anno IV - n.