Time and Technology in William Basinski's the Disintegration Loops
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Cancel Culture: Posthuman Hauntologies in Digital Rhetoric and the Latent Values of Virtual Community Networks
CANCEL CULTURE: POSTHUMAN HAUNTOLOGIES IN DIGITAL RHETORIC AND THE LATENT VALUES OF VIRTUAL COMMUNITY NETWORKS By Austin Michael Hooks Heather Palmer Rik Hunter Associate Professor of English Associate Professor of English (Chair) (Committee Member) Matthew Guy Associate Professor of English (Committee Member) CANCEL CULTURE: POSTHUMAN HAUNTOLOGIES IN DIGITAL RHETORIC AND THE LATENT VALUES OF VIRTUAL COMMUNITY NETWORKS By Austin Michael Hooks A Thesis Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Degree of Master of English The University of Tennessee at Chattanooga Chattanooga, Tennessee August 2020 ii Copyright © 2020 By Austin Michael Hooks All Rights Reserved iii ABSTRACT This study explores how modern epideictic practices enact latent community values by analyzing modern call-out culture, a form of public shaming that aims to hold individuals responsible for perceived politically incorrect behavior via social media, and cancel culture, a boycott of such behavior and a variant of call-out culture. As a result, this thesis is mainly concerned with the capacity of words, iterated within the archive of social media, to haunt us— both culturally and informatically. Through hauntology, this study hopes to understand a modern discourse community that is bound by an epideictic framework that specializes in the deconstruction of the individual’s ethos via the constant demonization and incitement of past, current, and possible social media expressions. The primary goal of this study is to understand how these practices function within a capitalistic framework and mirror the performativity of capital by reducing affective human interactions to that of a transaction. -
The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 8-2012 The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno Joseph Weiss DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Weiss, Joseph, "The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno" (2012). College of Liberal Arts & Social Sciences Theses and Dissertations. 125. https://via.library.depaul.edu/etd/125 This Dissertation is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W. Adorno A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy October, 2011 By Joseph Weiss Department of Philosophy College of Liberal Arts and Sciences DePaul University Chicago, Illinois 2 ABSTRACT Joseph Weiss Title: The Idea of Mimesis: Semblance, Play and Critique in the Works of Walter Benjamin and Theodor W. Adorno Critical Theory demands that its forms of critique express resistance to the socially necessary illusions of a given historical period. Yet theorists have seldom discussed just how much it is the case that, for Walter Benjamin and Theodor W. -
RE-ANIMATING GHOSTS MATERIALITY and MEMORY in HAUNTOLOGICAL APPROPRIATION Abstract
INTERNATIONAL JOURNAL OF FILM AND MEDIA ARTS (2019) Vol. 4, Nº. 2 pp. 24-37 © 2019 BY-NC-ND ijfma.ulusofona.pt DOI: 10.24140/ijfma.v4.n2.02 RE-ANIMATING GHOSTS MATERIALITY AND MEMORY IN HAUNTOLOGICAL APPROPRIATION Abstract This research examines the spectrality of an- MICHAEL PETER SCHOFIELD imation and other media based on the photo- graphic trace. Using diverse examples from pop- ular culture and the author’s own investigative practice in media art, this paper looks at how ar- chival media is re-used and can be brought back to life in new moving image works, in a gesture we might call hauntological appropriation. While sampling and re-using old materials is nothing new, over the last 15 years we have seen an ongoing tendency to foreground the ghostly qualities of vintage recordings and found foot- age, and a recurrent fetishisation and simula- tion of obsolete technologies. Here we examine the philosophies and productions behind this hauntological turn and why the materiality of still and moving image media has become such a focus. We ask how that materiality effects the machines that remember for us, and how we re- use these analogue memories in digital cultures. Due to the multimodal nature of the author’s creative practice, photography, video art, doc- umentary film and animation, are interrogated here theoretically. Re-animating the ghosts of old media can reveal ontological differences between these forms, and a ghostly synergy be- tween the animated and the photographic. Keywords: hauntology, animation, memory, media * University of Leeds, United Kingdom archaeology, appropriation, ontology, animated [email protected] documentary 24 RE-ANIMATING GHOSTS MICHAEL PETER SCHOFIELD Every culture has its phantoms and the spectral- how we can foreground their specific materiality, and the ity that is conditioned by its technology (Derrida, haunting associations with personal and cultural memory Amelunxen, Wetzel, Richter, & Fort, 2010, p. -
Performance and Installation by William Basinski and James Elaine
FOR IMMEDIATE RELEASE ! ! MEDIA CONTACT Connie McAllister ALWAYS FRESH Director of Community Engagement ALWAYS FREE Tel 713 284 8255 [email protected] The Contemporary Arts Museum Houston presents a performance and installation by acclaimed composer William Basinski and artist James Elaine. Performance and installation by William Basinski and James Elaine At CAMH: Installation on view: Tuesday, October 8 – Sunday, October 13, 2013 Live Performance: Friday, October 11 | 7PM At Texas Contemporary Art Fair*: Special Installation: Thursday, October 10 – Sunday, October 13, 2013 *Location: George R. Brown Convention Center Houston, TX (August 19, 2013)—The Contemporary Arts Museum Houston is pleased to present a performance and installation by acclaimed composer William Basinski and artist James Elaine. An installation by the duo will be on view at CAMH as well as a site-specific installation for the Texas Contemporary Art Fair. A live performance by the two will take place at CAMH on Friday, October 11 at 7PM. Since 1978, James Elaine and William Basinski have worked together closely, creating some of the most visually poetic and aurally arresting installation and theatrical experiences. Using original compositions, found sound, tape loops, and delay devices, Basinski’s experimental music compositions provide a brilliant accompaniment to Elaine’s fragmented and painterly moving images recorded using super-8 video. By using obsolete technology and analogue tape loops, Basinki and Elaine explore the temporal nature of life, the reverberations of memory, and the mystery of time. The result of their collaboration provides a melancholic meditation on the passing of time and the decay that remains in its wake. -
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Global histories a student journal Capitalist Realism, Disappointment, and the History of Sensibilities: A Case for Fiction as Historical Source Dennis Koelling DOI: http://dx.doi.org/10.17169/GHSJ.2021.352 Source: Global Histories, Vol. 6, No. 2 (January 2021), pp. 102-120. ISSN: 2366-780X Copyright © 2021 Dennis Koelling License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. Capitalist Realism, Disappointment, and the History of Sensibilities: A Case for Fiction as Historical Source by DENNIS KOELLING 102 Global Histories: a student journal | VI - 2 - 2020 Dennis Koelling | Capitalist Realism, Disappointment, and the History of Sensibilities 103 VI - 2 - 2020 | ABOUT THE AUTHOR Capitalism" at the European University Institute. Capitalism" University Institute. His dissertation examines the His dissertation examines University Institute. Dennis Koelling is currently a PhD-Researcher at the is currently a PhD-Researcher Dennis Koelling Department of History and Civilization at the European the John-F.-Kennedy-Institute at Freie Universität Berlin. the John-F.-Kennedy-Institute with a focus on neoliberal subjectivity, the recent history with a focus on neoliberal subjectivity, and history proper. -
DISINTEGRATION Loop 1.1
SVILOVA | WILLIAM BASINSKI DISINTEGRATION LOOP 1.1 WILLIAM BASINSKI JUNE 18–JULY 31, 2014 www.svilova.org 1 SVILOVA | WILLIAM BASINSKI SCALE BE THY KING: THE BLACK Mirror OF William Basinski By David Keenan 1. Scalle Bee Thie Kynge. There is a magical idea, rarely articulated, that imagination is the world-creating matrix of desire, in other words that imagination is what translates a sensation into a thought. Disintegration Loops, still the central, emblematic work of the artist and composer William Basinski, conflates the biological with the constructed, the historical with the personal, by a creative act of imagination that would attempt to mimic the function of memory via accidental processes of auto-forgetting while connecting it with historical trauma –the 9/11 attacks on the Twin Towers as a head wound – and romantic portraiture, through the back cover recreation of Henry Wallis’s 1856 painting, The Death Of Chatterton, with Basinski posed as the dead 18th Century English poet, who poisoned himself in 1770, aged 17. Thomas Chatterton’s reputation as a forger of mystical poetry is of note here. From the age of 12 onwards he produced a run of strange, visionary verse that he claimed was the work of a 15th century monk of his own invention, Thomas Rowley. Indeed, a particular adjective, “Rowliean”, has been coined to describe the works of this historical figment, this shade birthed of an intoxicated imagination. Rowley’s verse is difficult, its language being largely derived from Chatterton’s study of the English philologist John Kersey’s Dictionarium Anglo-Britannicum, “comprehending a brief explication of all sorts of difficult words”. -
University of Birmingham from Microsound to Vaporwave
University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. -
On Mark Fisher's Ab-Joy
DOCUMENT UFD0043 Enrico Monacelli, Massimo Filippi To Wish Impossible Things: On Mark Fisher’s Ab-joy (After All) As a new volume of Mark Fisher’s K-Punk writings appears in Italian translation, Enrico Monacelli and Massimo Filippi struggle with the ambivalent jouissance of their untimely call to Deep Futurism and the paradox of their recovery, rehabilitation, and re-present-ation. URBANOMIC / DOCUMENTS 1 2 URBANOMIC.COM Why I started the It is impossible to blog? Because it deny that around the seemed like a space— CCRU—and what the only space—in followed after its de- which to maintain mise, Fisher’s blog a kind of discourse included—there has that had started in emerged a mytholo- the music press and gy which exudes the the art schools, but vague stench of obit- which had all but died uaries and anatomi- out, with what I think cal theatres. Even in are appalling cultural and political consequences.1 the parochial Italian collective consciousness, the para-academic group, born in a tiny room at the So begins the K-Punk anthology, the Italian transla- tion of which is divided into four volumes, a merciful A cascade of amen breaks, Ballard’s choice compared to the monolith that is the English and Gibson’s cyberpunk, the death of edition, collecting together, in addition to a few short articles appeared in various magazines, Mark Fisher’s sound philosophy under the blows of a posts on his blog K-Punk. The first volume, dedicat- new pulp theory…. ed to his political writings and entitled Il nostro de- siderio è senza nome [Our Desire is Nameless], was University of Warwick and finally killed off by the released in Italy at the beginning of 2020, and the Millennium Bug, is becoming, along with its defec- second, Schermi, sogni e spettri [Screens, Dreams tors, descendants and followers, a mythological and Spectres], a few weeks ago (both translated by figure that immediately translates into very specif- Vincenzo Penna for minimum fax). -
Inherent Vice, Aproductivity, and Narrative
Overwhelmed and Underworked: Inherent Vice, Aproductivity, and Narrative Miles Taylor A Thesis in The Department of Film Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada May 2020 © Miles Taylor 2020 Signature Page This is to certify that the thesis prepared By: Miles Taylor Entitled: Overwhelmed and Underworked: Inherent Vice, Aproductivity, and Narrative And submitted in Partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) Complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: Examiner Luca Caminati Examiner Mary Esteve Supervisor Martin Lefebvre Approved by Marc Steinberg 2020 Rebecca Duclos Taylor iii Abstract Overwhelmed and Underworked: Inherent Vice, Aproductivity, and Narrative Miles Taylor This thesis proposes an artistic mode called aproductivity, which arises with the secular crisis of capitalism in the early 1970’s. It reads aproductivity as the aesthetic reification of Theodor Adorno’s negative dialectics, a peculiar form of philosophy that refuses to move forward, instead producing dialectics without synthesis. The first chapter examines the economic history aproductivity grows out of, as well as its relation to Francis Fukuyama’s concept of “The End of History.” After doing so, the chapter explores negative dialectics and aproductivity in relation to Adam Phillips’ concept of the transformational object. In the second chapter, the thesis looks at the Thomas Pynchon novel Inherent Vice (2009), as well as the 2014 Paul Thomas Anderson adaptation of the same name. -
The Figure of Adorno in the Utopian Politics of Fredric Jameson and Slavoj Žižek1
ISSN 1751-8229 Volume Thirteen, Number One The Figure of Adorno in the Utopian Politics of Fredric Jameson and Slavoj Žižek1 Ed Graham, Simon Fraser University Ed Graham is a PhD candidate at Simon Fraser University, Vancouver. He holds an MA in Philosophy from the University of Amsterdam and a BA in English Literature from the University of Warwick. His research interests include Marxism and critical theory, contemporary literature and culture, and utopian studies. 1 A version of this paper was presented for a panel on “Remobilizing Utopia” (Seattle, 20 May 2018), part of the annual Red May Seattle series. Many thanks to Morgan Young and Philip Wohlstetter for the invitation to speak. Special thanks also to Clint Burnham and Carolyn Lesjak for the advice and encouragement, and to Burnham for allowing me to write this paper as part of a directed study. Incorporating a diverse and eclectic range of theory and cultural forms, both Fredric Jameson and Slavoj Žižek have persistently foregrounded Marxist questions of ideology, totality and utopia at points where they seem unfashionable and outmoded. As a phrase attributable to both thinkers, Jameson and Žižek share a commitment to writing in and against a time where it has become “easier to imagine the end of the world than the end of capitalism.” Broadly speaking, in terms of a shared politics, both advocate seeing the system whole and keeping open the possibility of an “outside” to capitalism. As shown in his call for an aesthetic of cognitive mapping, the enabling of “a situational representation on the part of the individual subject to that vaster and properly unrepresentable totality which is the ensemble of society’s structures as a whole,” Jameson’s insistence on retaining the category of totality under a nominalist postmodern social order is related to keeping alive “the very idea of utopia” (Jameson 1991: 51; Jameson 1988: 6). -
Global Histories, Vol
Global histories a student journal Capitalist Realism, Disappointment, and the History of Sensibilities: A Case for Fiction as Historical Source Dennis Koelling DOI: http://dx.doi.org/10.17169/GHSJ.2021.352 Source: Global Histories, Vol. 6, No. 2 (January 2021), pp. 102-120. ISSN: 2366-780X Copyright © 2021 Dennis Koelling License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. Capitalist Realism, Disappointment, and the History of Sensibilities: A Case for Fiction as Historical Source by DENNIS KOELLING 102 Global Histories: a student journal | VI - 2 - 2020 Dennis Koelling | Capitalist Realism, Disappointment, and the History of Sensibilities 103 history proper. VI - 2 - 2020 | ABOUT THE AUTHOR University Institute. His dissertation focuses on the University Institute. Dennis Koelling is currently a PhD-Researcher at the is currently a PhD-Researcher Dennis Koelling Department of History and Civilization at the European main research interests include the history of capitalism John-F.-Kennedy-Institute at Freie Universität Berlin. His John-F.-Kennedy-Institute Universität zu Berlin and Freie Universität Berlin, as well popular culture in the twentieth and twenty-first century. -
Mark Fisher Goldsmiths, University of London / University of East London (UK)
The Metaphysics of Crackle: Afrofuturism and Hauntology Feature Article Mark Fisher Goldsmiths, University of London / University of East London (UK) Abstract There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro- time of postmodernity. The emergence of a 21st century sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition. Keywords: Hauntology, Afrofuturism, dub, phonography, rockism Mark Fisher is the author of Capitalist Realism (2009) and the forthcoming Ghosts Of My Life: Writings on Depression, Hauntology and Lost Futures. His writing has appeared in many publications, including The Wire, Frieze, The Guardian and Film Quarterly. He is Programme Leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London and a lecturer at the University of East London. Dancecult: Journal of Electronic Dance Music Culture 5(2): 42–55 ISSN 1947-5403 ©2013 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2013.05.02.03 Fisher | The Metaphysics of Crackle 43 [In] “Phonograph Blues” . Johnson sings, with too much emotion it seems, about his broken record player.