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"In thinking about these eschatological questions, I start from Matt Kirschenbaum’s observation that DH is not a single intellectual project but a tactical coalition. Just for starters, humanists can be interested in digital technology a) as a way to transform scholarly communication, b) as an object of study, or c) as a means of analysis. These are distinct intellectual projects, although they happen to overlap socially right now because they all require skills and avocations that are not yet common among humanists. "

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"It's a bizarre thing when you stumble upon the "new art movement" filtering through discursive chatter. Is it actually a movement, or is it simply a bunch of like-minded individuals telling me its a movement?

Behold The New Aesthetic then - a new art meme in visual culture whimsically constructed by James Bridle, which manifests itself in a Tumblr blog, a presentation for Web Directions South, Sydney and an original blog post. Recent attention to it has reached feverish proportions coming off the back of a SXSW panel in March and a generally positive endorsement by Bruce Sterling in Wired, plus some group responses on the creators project. More recently, the computational media scholar and philosopher Ian Bogost has posted his own thoughts for The Atlantic."

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"Valorizing machine-generated imagery is like valorizing the unconscious mind. Like Surrealist imagery, it is cool, weird, provocative, suggestive, otherworldly, but it is also impoverished.

That’s the big problem, as I see it: the New Aesthetic is trying to hack a modern aesthetic, instead of thinking hard enough and working hard enough to build one. That’s the case so far, anyhow. No reason that the New Aesthetic has to stop where it stands at this moment, after such a promising start. I rather imagine it’s bound to do otherwise. Somebody somewhere will, anyhow."

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"One of the core themes of the New Aesthetic has been our collaboration with technology, whether that’s bots, digital cameras or satellites (and whether that collaboration is conscious or unconscious), and a useful visual shorthand for that collaboration has been glitchy and pixelated imagery, a way of seeing that seems to reveal a blurring between “the real” and “the digital”, the physical and the virtual, the human and the machine. It should also be clear that this ‘look’ is a metaphor for understanding and communicating the experience of a world in which the New Aesthetic is increasingly pervasive."

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A communication-centered explanation of the difficulty to reform Wall Street so far would depend largely on which view of public opinion and the nature of the public sphere (indeed, which view of democracy) you adopt.  University of Pennsylvania Provost and communication researcher Vincent Price (2008) usefully describes four models of the public sphere that could potentially apply to the U.S. at various points in the debate over financial reform and other issues:

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"In fact, what is fascinating about the New Atheists is their almost complete lack of interest in the history and philosophical development of atheism. They seem not the least bit curious to venture beyond an understanding that reduces atheist thought to crude hyper-empiricism, hyper-materialism, and an undiscriminating anti-theism."

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"Most of us are poor at faking actions. Kinematic studies have shown that when pretending to pick up imagined objects (pantomimed actions), we move and shape our hands quite differently from when grasping real ones. These differences between real and pantomimed actions have been linked to separate brain pathways specialized for different kinds of visuomotor guidance. Yet professional magicians regularly use pantomimed actions to deceive audiences."

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American citizens should ask themselves: I work hard and pay my taxes, so why don’t the richest people and the corporations? Why should I pick up the entire tab for keeping the nation running? Why should the people who can afford the most pay the least? If you’re happy with that situation, you can stay at home and leave the protesting to the Tea Party. For the rest, there’s an alternative. For too long, progressive Americans have been lulled into inactivity by Obama’s soaring promises, which come to little. As writer Rebecca Solnit says, “Hope is not a lottery ticket you can sit on the sofa and clutch, feeling lucky…. Hope is an ax you break down doors with in an emergency.” UK Uncut has just shown Americans how to express real hope—and build a left-wing Tea Party.

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As a nation, the United States is often portrayed as restless and rootless. Census data, though, indicate that Americans are settling down. Only 11.9% of Americans changed residences between 2007 and 2008, the smallest share since the government began tracking this trend in the late 1940s.

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in list: Modern Art

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in list: Modern Art

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A brief sketch of art world reactions to economic downturns over the past 50 years.

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in list: Economic Crisis

American politics realigned in the election of 1968. This era of Nixon centered around four polar politics: a left, a right, and two middle movements, one of which, the more active, was an ideological moderate movement which was aligned to the right. The natural progression was the preservation of the liberal state by conservative means. On a Presidential level, this meant alternating between radical Republicans, and conservative Democrats, while keeping a largely spendthrift Congress in place.

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We don’t need another Lincoln, or an Obama; what we need is more Fredrick Douglasses and Harriet Beecher Stowes. We need more Martin Luther Kings, Big Bill Haywoods, and Helen Kellers. We don’t need more FDRs, we need more Eugene Debs. We don’t need more JFKs, we need more Philip Berrigans. We don’t need to look to great men to lead us to the promised land, we need to recognize the power that we, the nameless and “the powerless,” possess when we assert our power rather than make assertions of faith directed at the great leader myths.

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