Category Archives: Art

Buck-Morss on Shock and the Senses in Modern Space

“…In industrial production no less than modern warfare, in street crowds and erotic encounters, in amusement parks and gambling casinos, shock is the very essence of modern experience. The technologically altered environment exposes the human sensorium to physical shocks that… Continue reading

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Butler on the State, Representation, War and Perceptibility

“Currently, the state operates on the field of perception and, more generally, the field of representability, in order to control affect, and in anticipation of the way that affect informs and galvanises political opposition to the war. I refer to… Continue reading

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Virilio on Vision and War

“After the Second World War, it became possible to sketch out a strategy of global vision, thanks to spy-satellites, drones and other video-missiles, and above all to the appearance of a new type of headquarter. The central electronic-warfare administration –… Continue reading

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Buck-Morss on Phantasmagoria

“Phantasmagorias are a technoaesthetics. The perceptions they provide are “real” enough – their impact upon the senses and nerves is still “natural” from a neurophysical point of view. But their social function is in each case compensatory. The goal is… Continue reading

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Scheppe on Schulz-Dornburg and Seriality

“The first and most universal form in the codified articulation of Ursula Schulz-Dornburg’s work consists of cycles and series based on a dismissal of the individual images’ fetishization. The principle of the sequence found its way into contemporary art via Minimalism… Continue reading

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Shinkle on Barnard and the Technological Sublime

“Technology, as Fredric Jameson writes, is a ‘distorted figuration’ of contemporary society’s other: a shorthand for the unimaginably vast global network of power and control that is the present-day system of multinational capital. Jeremy Gilbert-Rolfe identifies the contemporary sublime with… Continue reading

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Scheppe on Photography

“Unlike painting, sculpture, music, and (with reservations) poetry, photography employed as an artistic medium does not issue from a genuinely artistic material origin. The material is not itself a reserve for artistic expression, and the means of communication and aesthetic… Continue reading

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Salvesen on New Topographics

“In an intellectual climate increasingly preoccupied with surveillance, simulacra, and systems, photography could be critiqued as an instrument of the spectacle – relentlessly proliferating the signs of an illusory reality cloaking the abstract forces of consumption and commodification. At the… Continue reading

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Shinkle on Banality and the Digital Sublime

“The category of the banal draws together these two antithetical meanings, combining trifling irritation with deeper spiritual distress. If boredom and ennui are emblems of early modernity, born out of shifting labour patterns and the novelty of unfilled time, the… Continue reading

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Sebald on Architecture and The Ruin

“Such complexes of fortifications, said Austerlitz, concluding his remarks that day in the Antwerp Glove Markets as he rose from the table and slung his rucksack over his shoulder, show us how, unlike birds, for instance, who keep building the… Continue reading

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