Tuesday, July 30, 2013
Friday, July 5, 2013
Tuesday, July 2, 2013
Affective Mapping: Melancholia and the Politics of Modernism (Jonathan Flatley) Harvard University Press 2008
Adorno's ideas about "aesthetic shudder" in Aesthetic Theory, esp. 244-245, 269, 331.
p.80-81 The affective mapping function is achieved by means of the noncoincidence of two moments in the experience of what, following Adorno, we might call "the work of art," so long as we mean that phrase in a fairly broad sense. On the one hand, one has a perceptual and cognitive apprehension of the artwork in its otherness, which has certain effects...
On the other hand, but simultaneously, one has an affective response in this other world defined by the work. The artwork provides both the context and the objects affects need in order to come into existence...... (transferential one) ... (b)y creating a kind of mood atmosphere with its own objects, artworks bring affects into existence in forms and in relation to objects that otherwise might not exist.
... In an important sense, we never experience an affect for the first time; every affect contains within it an archive of its previous objects.
p.82 So, for example, here I am at a concert of the Emerson String Quartet; they are playing one of Beethoven's late string quarters. .... I shudder. According to Adorno, such a shudder is generated not by the emotion evoked itself but by the transition from this emotion— experienced in this world of the quarter, that is to say, a world that bears no apparent referential relation to the world of everyday life— back to my subjectivity as I experience it in everyday life. At the moment of this return from the work, one has the sensation that one has just been temporarily dislocated from one's subjectivity. This is because one has, from a moment, has an affect in a space not defined by one's subjectivity, and then one is returned to that subjectivity, reminding one precisely of that subjectivity, and its limitedness. The return to the "self," the subjectivity as we find it in our everyday lives, and its disjuncture with the affects and the mood we have experienced without a self, in a nonself, is what produces, for Adorno, the shudder.
(also a self-estrangement and defamiliarization of one's own emotional life)
p.83 I am not quite sure what Adorno means by "the other" here, but I take him to be referencing a moment of apprehending the basically plural nature of one's emotional life. The work is something like a meeting place for an affective collectivity.
p 84 if an affective map is a representation of one's affective life in its historicity, then this representation works in the following way. The moment of shudder is a reaction to the simultaneous rupture and connection between the affective experience one has within the world created by the work on the one hand and the affective attachments one has within the world of everyday life on the other. I this way the shudder opens up the space of self-estrangement that is necessary to get a distance on one's affects. It also puts one into contact with others, a contact that is imaginary in one sense. But inasmuch as it is based on the shared historicity of that affective life, it is quite real.
p.80-81 The affective mapping function is achieved by means of the noncoincidence of two moments in the experience of what, following Adorno, we might call "the work of art," so long as we mean that phrase in a fairly broad sense. On the one hand, one has a perceptual and cognitive apprehension of the artwork in its otherness, which has certain effects...
On the other hand, but simultaneously, one has an affective response in this other world defined by the work. The artwork provides both the context and the objects affects need in order to come into existence...... (transferential one) ... (b)y creating a kind of mood atmosphere with its own objects, artworks bring affects into existence in forms and in relation to objects that otherwise might not exist.
... In an important sense, we never experience an affect for the first time; every affect contains within it an archive of its previous objects.
p.82 So, for example, here I am at a concert of the Emerson String Quartet; they are playing one of Beethoven's late string quarters. .... I shudder. According to Adorno, such a shudder is generated not by the emotion evoked itself but by the transition from this emotion— experienced in this world of the quarter, that is to say, a world that bears no apparent referential relation to the world of everyday life— back to my subjectivity as I experience it in everyday life. At the moment of this return from the work, one has the sensation that one has just been temporarily dislocated from one's subjectivity. This is because one has, from a moment, has an affect in a space not defined by one's subjectivity, and then one is returned to that subjectivity, reminding one precisely of that subjectivity, and its limitedness. The return to the "self," the subjectivity as we find it in our everyday lives, and its disjuncture with the affects and the mood we have experienced without a self, in a nonself, is what produces, for Adorno, the shudder.
(also a self-estrangement and defamiliarization of one's own emotional life)
p.83 I am not quite sure what Adorno means by "the other" here, but I take him to be referencing a moment of apprehending the basically plural nature of one's emotional life. The work is something like a meeting place for an affective collectivity.
p 84 if an affective map is a representation of one's affective life in its historicity, then this representation works in the following way. The moment of shudder is a reaction to the simultaneous rupture and connection between the affective experience one has within the world created by the work on the one hand and the affective attachments one has within the world of everyday life on the other. I this way the shudder opens up the space of self-estrangement that is necessary to get a distance on one's affects. It also puts one into contact with others, a contact that is imaginary in one sense. But inasmuch as it is based on the shared historicity of that affective life, it is quite real.
Tuesday, June 25, 2013
post-hermeneutical reading group
http://www.princeton.edu/ihum/reading-groups/posthermeneutics/
Spring 2012
What is Post-Hermeneutics?
Meeting 1. Friday, March 16, 2:30 pm, NYU
David Wellbery, “Foreword” in: Friedrich Kittler, Discourse Networks, 1800-1900, trans. Michael Metteer and Chris Cullens (Stanford: Stanford UP, 1989), pp. vii-xxxiii.
Friedrich Kittler, “Media and Drugs in Pynchon’s Second World War” [1987] in: Literature, Media, Information Systems, ed. John Johnston (Amsterdam: GB Arts International, 1997), pp. 101-16.
Hans Ulrich Gumbrecht, “A Farewell to Interpretation” in: Materialities of Communication, ed. Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer (Stanford: Stanford UP, 1994), pp. 389-402.
Alex Galloway, “Are Some Things Unrepresentable?” in: Theory, Culture & Society, vol. 28 no. 7-8 (December 2011), pp. 85-102.
Technical Knowledge and the Non-Phenomenal
Meeting 2. Friday, April 20, 2:30 pm, NYU
Vilém Flusser, from: Into the Universe of Technical Images [1985], trans. Nancy Ann Roth (Minneapolis: University of Minnesota Press, 2011).
Philip E. Agre, “Surveillance and Capture: Two Models of Privacy” in: The Information Society 10, no. 2 (April 1994), pp. 101-127.
Carolyn Lee Kane, “Infrared, Or, the Algorithmic Production of Visual Knowledge” (unpublished paper, 2011).
Kate Brideau, “The Techno-image as Epistemological Model” (unpublished paper, 2011).
Post-Hermeneutical Literary Study
Meeting 3 Friday, May 11, 2:30 pm, NYU
Stephen Ramsay, "Toward an Algorithmic Criticism" in: Literary and Linguistic Computing 18, no. 2 (2003), pp. 167 - 174.
D. Sculley and B.M. Pasanek, “Meaning and Mining: the Impact of Implicit Assumptions in Data Mining for the Humanities” in: Literary and Linguistic Computing 23, no. 4 (2008), pp. 409-424.
Matthew G. Kirschenbaum, "Extreme Inscription: A Grammatology of the Hard Drive" in: Mechanisms: New Media and the Forensic Imagination" (Cambridge: MIT UP, 2008), pp. 73 - 109.
Friday, June 21, 2013
new media, old media: a history and theory reader edited by Wendy Chun and Thomas Keenan
Information, Crisis, Catastrophe (Mary Ann Doane) 251-264
photography--- "that has been" "pastness"
TV "presentness" The content of information is ever-changing but information, as a genre, is always there, a constant and steady presence, keeping you in touch. p251
p252 "(t)elevision tends to blur the differences between what seem to be absolutely incompatible temporal modes, between the flow and continuity of information and the punctual discontinuity of catastrophe. Urgency, enslavement to the instant and hence forgettability, would then be attributes of both information and catastrophe."
information-disinformation "Disinformation loses credibility, then, not only through its status as a lie but through its very directedness, its limitation, its lack of universal availability.... Disinformation abuses the system of broadcasting by invoking and exploiting the automatic truth value associated with this mode of dissemination- a truth value not unconnected to the sheer difficulty of verification and the very entry of information."
Hayles-- information-- decontextualization
television could be seen as the textual technology of information theory. television is the preeminent machine of decontextualization. The only context for television is itself--its own rigorous scheduling.
The simultaneous activation of different, incongruous spaces is suggestive of a writing surface and the consequent annihilation of depth.
P262 catastrophere as an ideology "transforming a political act into something with the proportions of a monumental natural disaster"
representational obscenity--- the repetition of the absolutely unique
what is the stake in this continual technological celebration of instantaneity----It signifies social abjection of representation itself in a highly mediated society
photography--- "that has been" "pastness"
TV "presentness" The content of information is ever-changing but information, as a genre, is always there, a constant and steady presence, keeping you in touch. p251
p252 "(t)elevision tends to blur the differences between what seem to be absolutely incompatible temporal modes, between the flow and continuity of information and the punctual discontinuity of catastrophe. Urgency, enslavement to the instant and hence forgettability, would then be attributes of both information and catastrophe."
information-disinformation "Disinformation loses credibility, then, not only through its status as a lie but through its very directedness, its limitation, its lack of universal availability.... Disinformation abuses the system of broadcasting by invoking and exploiting the automatic truth value associated with this mode of dissemination- a truth value not unconnected to the sheer difficulty of verification and the very entry of information."
Hayles-- information-- decontextualization
television could be seen as the textual technology of information theory. television is the preeminent machine of decontextualization. The only context for television is itself--its own rigorous scheduling.
The simultaneous activation of different, incongruous spaces is suggestive of a writing surface and the consequent annihilation of depth.
P262 catastrophere as an ideology "transforming a political act into something with the proportions of a monumental natural disaster"
representational obscenity--- the repetition of the absolutely unique
what is the stake in this continual technological celebration of instantaneity----It signifies social abjection of representation itself in a highly mediated society
Tuesday, June 18, 2013
harry gulkin
Lies My Father Told Me (1975)
In the 2005 documentary about Harry Gulkin, Red Dawn on Main Street, he is described as "someone who's left an indelible impression on Québec cinema."
In the 2005 documentary about Harry Gulkin, Red Dawn on Main Street, he is described as "someone who's left an indelible impression on Québec cinema."
Sunday, June 16, 2013
CFP: Transnational Transfers in Asian Architecture and Urban Planning, 1960-Present Location: Singapore
CFP: Transnational Transfers in Asian Architecture and Urban Planning,
1960-Present
Location: Singapore
Call for Papers Date: 2013-06-15
Date Submitted: 2013-06-12
Announcement ID: 204474
CALL FOR PAPERS
Mobilities of Design:
Transnational Transfers in Asian Architecture and Urban Planning,
1960-Present
Dates: 20-22 November 2013
Venue: ETH Zurich Future Cities Laboratory, Singapore
Organizers: Max Hirsh (ETH Zurich) and Lukasz Stanek (Manchester
Architecture Research Center, University of Manchester)
Deadline: 15 June 2013
This conference investigates the transnational transfer of
architectural expertise to, from, and within Asia from 1960 to the
present--as well as its consequences for contemporary conditions of
urbanization in the region today. The goal of the event is to uncover
the multidirectional exchanges in architecture, planning, engineering,
design pedagogy, and building technology that have taken place in Asia
over the past 50 years; and to show how this acquired knowledge has
been developed, appropriated, mixed and modified in professional
practice. Through academic research papers and the insights of
practitioners, conference participants will examine a range of
transnational interactions: including, but not restricted to, the
training of South and Southeast Asian architects under Australias
Colombo Plan; Eastern European conservation and urban development
schemes in Laos, Vietnam, and India; the dissemination of European
design curricula in Mainland China; and the more recent circulation ofSingaporean expertise across the region.
In so doing, the conference will focus on the agents, networks, and
objects of knowledge transfer:
agents include governments, private and state enterprises, local and
international institutions, and individual go-betweens crossing
boundaries and cultures;
networks consist of economic ties and geopolitical dependences, but
also development aid and traditional cultural exchanges;
objects include specific designs as well as new types of
architectural commissions, such as type-designs, prefabricated
systems, regulatory proposals, and teaching methods.
Ultimately, the conference has two goals. First, by investigating the
interaction between local clients and foreign architects, planners,
and engineers, the event will offer a heterogeneous genealogy of the
current material, economic, and institutional conditions of
urbanization in the contemporary Asian city. Second, through the
development of an innovative historical framework, the conference aims
to contextualize examples of cross-cultural knowledge transfer that
are taking place in Asian cities such as Singapore today.
1960-Present
Location: Singapore
Call for Papers Date: 2013-06-15
Date Submitted: 2013-06-12
Announcement ID: 204474
CALL FOR PAPERS
Mobilities of Design:
Transnational Transfers in Asian Architecture and Urban Planning,
1960-Present
Dates: 20-22 November 2013
Venue: ETH Zurich Future Cities Laboratory, Singapore
Organizers: Max Hirsh (ETH Zurich) and Lukasz Stanek (Manchester
Architecture Research Center, University of Manchester)
Deadline: 15 June 2013
This conference investigates the transnational transfer of
architectural expertise to, from, and within Asia from 1960 to the
present--as well as its consequences for contemporary conditions of
urbanization in the region today. The goal of the event is to uncover
the multidirectional exchanges in architecture, planning, engineering,
design pedagogy, and building technology that have taken place in Asia
over the past 50 years; and to show how this acquired knowledge has
been developed, appropriated, mixed and modified in professional
practice. Through academic research papers and the insights of
practitioners, conference participants will examine a range of
transnational interactions: including, but not restricted to, the
training of South and Southeast Asian architects under Australias
Colombo Plan; Eastern European conservation and urban development
schemes in Laos, Vietnam, and India; the dissemination of European
design curricula in Mainland China; and the more recent circulation ofSingaporean expertise across the region.
In so doing, the conference will focus on the agents, networks, and
objects of knowledge transfer:
agents include governments, private and state enterprises, local and
international institutions, and individual go-betweens crossing
boundaries and cultures;
networks consist of economic ties and geopolitical dependences, but
also development aid and traditional cultural exchanges;
objects include specific designs as well as new types of
architectural commissions, such as type-designs, prefabricated
systems, regulatory proposals, and teaching methods.
Ultimately, the conference has two goals. First, by investigating the
interaction between local clients and foreign architects, planners,
and engineers, the event will offer a heterogeneous genealogy of the
current material, economic, and institutional conditions of
urbanization in the contemporary Asian city. Second, through the
development of an innovative historical framework, the conference aims
to contextualize examples of cross-cultural knowledge transfer that
are taking place in Asian cities such as Singapore today.
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