angelbutt_dollface posted:marxist star wars forum
lol
HenryKrinkle posted:http://www.camera.org/index.asp?x_context=5&x_outlet=291&x_article=3155
"From being morally offensive and intellectually juvenile,"
you can take the poster out of the rhizzone but not the rhizzone out of the poster
TG posted:HenryKrinkle posted:http://www.camera.org/index.asp?x_context=5&x_outlet=291&x_article=3155
"From being morally offensive and intellectually juvenile,"
you can take the poster out of the rhizzone but not the rhizzone out of the poster
At least he doesn't think there is a black Holocaust denier playing for the Dallas Cowboys.
88888 posted:PLEASE stop mentioning about the holocaust
roseweird posted:this pokemon won't stop talking about the holocaust
this burger king owner IS the holocaust!!
le_nelson_mandela_face posted:roseweird posted:this pokemon won't stop talking about the holocaust
this burger king owner IS the holocaust!!
No, no. I cannot stop thinking about David Irving, the defense end of the Dallas Cowboys!! There also happens to be a white guy named David Irving who is a holocaust denier.
Edited by Latias ()
chickeon posted:I read that and it was bad but it provided the answer I already knew to How Does This Motherfucker Get Published So Much
...very carefully?
http://www.lrb.co.uk/v37/n17/fredric-jameson/in-hyperspace
by the way Deadken's article is just a rip off of this sentence:
The ideological consequences of such a form – its ideological content as it were – are as obvious as they are toxic and multiple: an endogamy which transforms all of history into the stasis of Parmenidean Being, the past as eternity, the invention of an unassailable identity for ruling conquerors who have come out of nowhere.
and says nothing beyond it. the part that should have been explored is this
My own suspicion is that the multiverse is to be grasped schematically, as a distorted (and visual, literal, pictorial) symptom and expression of the rather different anxiety of the explosion of subjects under decolonisation and globalisation, which no longer finds psychological containment in concepts of nation, race, class and the like.
or, if we have to stay in the realm of aesthetic theory, this
modernity has in fact invented such a hyperspace from which to observe the observer: it is called the camera. And film becomes the logical extension of the time-travel narrative in that paradoxical sense in which, as Stanley Cavell so memorably put it, the world is viewed without myself. This is, then, how the structural/poststructural search for the decentred subject ended up, not with some impossible ‘death of the subject’, but rather in film theory, with the camera apparatus as that ultimate subject without subjectivity, that ultimate literal and visual embodiment of the ultimate observer of the ultimate self and of the literalisation of James’s literary ‘point of view’. The transcendental hyperspace in which such a transcendental observer finds itself is then simply the infinite regress of point of view, the nothingness on which the attempt to think time and temporality, to think the past and the present, to think the difference between my multiple selves, is founded.
obviously not every article for the Atlantic can be a serious exploration of aesthetics and capitalism but if you're writing a bunch of junk for money instead of anything interesting or inspired why not just get a real job that pays better and is equally alienating? this is a direct question to Sam Kriss who I'm sure reads his name every time it pops up.
getfiscal posted:Baby Huey, it's easy to criticize others, maybe link to your articles in the Atlantic or New York Times and we can compare.
If you give me a couple of weeks I'll have an article published. Then everyone can finally see the real babyhueypnewton.
e: its about anime