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Jody Berland: North of Empire


north of empire, originally uploaded by Joy Garnett (archive).

Duke University Press (Dec 2009)

Cover Art: Joy Garnett

Image: Strange Weather 1 (2005), oil on canvas. Courtesy of Winkleman Gallery, NY. [Link]

See more book covers here.


North of Empire: Essays on the Cultural Technologies of Space
by Jody Berland

Duke University Press
368 pages (December 2009)
33 illustrations

0-8223-4288-X
[ISBN13 978-0-8223-4288-5]

0-8223-4306-1
[ISBN13 978-0-8223-4306-6]

For nearly two decades, Jody Berland has been a leading voice in cultural studies and the field of communications. In North of Empire, she brings together and reflects on ten of her pioneering essays. Demonstrating the importance of space to understanding culture, Berland investigates how media technologies have shaped locality, territory, landscape, boundary, nature, music, and time. Her analysis begins with the media landscape of Canada, a country that offers a unique perspective for apprehending the power of media technologies to shape subjectivities and everyday lives, and to render territorial borders both more and less meaningful. Canada is a settler nation and world power often dwarfed by the U.S. cultural juggernaut. It possesses a voluminous archive of inquiry on culture, politics, and the technologies of space. Berland revisits this tradition in the context of a rich interdisciplinary study of contemporary media culture.

Berland explores how understandings of space and time, empire and margin, embodiment and technology, and nature and culture are shaped by communications technologies including pianos, radio, television, the Web, and satellite imaging. Along the way, she provides a useful overview of the assumptions driving communications research on both sides of the U.S.-Canadian border, and she highlights the distinctive contributions of the Canadian communication theorists Harold Innis and Marshall McLuhan. Berland argues that electronic mediation is central to the construction of social space and therefore to anti-imperialist critique. She illuminates crucial links between how space is traversed, how it is narrated, and how it is used. Making an important contribution to scholarship on globalization, Berland calls for more sophisticated accounts of media and cultural technologies and their complex “geographies of influence.”

“Since its inception, cultural studies has gained a great deal from Canadian writers, in part because of the particular perch they occupy over the behemoth below them. Jody Berland has been one of those distinguished authors. North of Empire is a grand statement of her theoretical and political positions and a wonderful reservoir drawn from her rich research. It will be a landmark.”—Toby Miller, author of Makeover Nation: The United States of Reinvention

“This is a major work by one of the most original and influential thinkers working on the intersection of communication with cultural studies in the world today. Jody Berland is a writer of intense clarity and beautiful style, with an astonishing capacity to move fluidly between aesthetic, social, political, historical, and technical frames of thought. North of Empire shows us how to think profoundly, again, about space and why it matters.”—Meaghan Morris, Lingnan University (Hong Kong) and University of Sydney (Australia)

Jody Berland is Associate Professor of Humanities at York University and the editor of TOPIA: Canadian Journal of Cultural Studies.

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Paul Virilio: University of Disaster


Virilio- University of Disaster, originally uploaded by Joy Garnett (archive).

Polity, Cambridge (UK) (Oct 2009)
Trans.: Julie Rose.
Cover art: Joy Garnett.

Image: "Cluster" (2000), oil on canvas, 60 x 78 inches. Rocket Science series. Courtesy of Winkleman Gallery, NY.

Recently exhibited: PS1/MoMA: That Was Then... This Is Now (2008)

See more book covers here.


The University of Disaster

By: Paul Virilio (The European Graduate School)

Description
'The world of the future will be a tighter and tighter struggle against the limits of our intelligence', announced Norbert Wiener... On top of such confinement, today we are faced not only with the greenhouse effect of global warming but also that of incarceration within the tighter and tighter limits of an accelerating sphere, a dromosphere, where depletion of the time distances involved in the geodiversity of the Globe rounds off the depletion of the substances produced by biodiversity. An unanticipated victim of this geophysical foreclosure is science - not only biology but also physics, the 'Big Science' now confronted by the space-time contraction of the known world and of knowledge once acquired here below.

Whence the threat, still unnoticed, of an accident in knowledge which will double the accident of polluted substances and put paid to this crisis of reason denounced by Husserl, with the extravagant quest for a substitute exoplanet, a new 'Promised Land' to be colonised as swiftly as possible; the climate necessary to the life of our minds, as much as to the life of our bodies, from then on, on this old Earth of ours, being like the fatal consequences of a long illness requiring hospitalisation.

Paul Virilio, bios:
www.egs.edu/resources/virilio.html

en.wikipedia.org/wiki/Paul_Virilio

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'Vertov's Accident' (Or, 'The Paint Still')

Published in:

Vertov VERTOV FROM Z TO A

Author: Ahwesh, Peggy/Sanborn, Keith, Eds.
Cover: PAPERBACK
Pub Date: 01 Mar 2008
Publisher: Ediciones la Calavera
ISBN: 978-0-9642284-3-6

Price: $20.00


Description:
Cultural Writing. Essays. Literary Criticism. Dziga Vertov's 'Man With a Movie Camera' is widely regarded as the definitive modernist statement in film. What fate awaits it – and you, devoted reader -in the current era of political disarray and highspeed wireless traffic? This collection - over four years in the making – devoted to just a single frame of film may reveal the answer. This is the Special Jubilee Edition of VERTOV FROM Z TO A in honor of the 90th Anniversary of the October Revolution.

Contributors include Abu Ali, Bruce Andrews, Yann Beauvais, Ericka Beckman, Walter Benjamin, Diane Bertolo, Francois Bucher, Edwin Carels, Abigal Child, Ludovic Cortade, Brian Frye, Joy Garnett, Marina Grzinic, Michelle Handelman, Peter Hitchcock, Robert Kelly, Marina de Bellagente LaPalma, David Larcher, Barbara Lattanzi, Les LeVeque, David Levi Strauss, Jeanne Liotta, Laura U. Marks, Julie Murray, Kristin Prevallet, Cathy Nan Quinlan, Melissa Ragona, John David Rhodes, Jason Simon, John Smith, Michael Smith, Allan Sondheim, Caspar Stracke, Beatrus van Agt, Mercedes Vincente, William C. Wees, Peter Lamborn Wilson, Ghen Zando-Dennis and Thomas Zummer.

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'Vertov's Accident' (Or, 'The Paint Still')
Joy Garnett (Ca. Autumn 2003, NYC)

Shot_1152_0    Shot_1152_0vert

I'VE BEEN LIVING WITH Vertov's mystery image. At first, I didn't think much of it, I just set it to my desktop wallpaper so I would see it every day. Later on I blew it up and printed it out. Rumpled copies of it have lain scattered on various surfaces for months, in the studio, at work, on the floor, under stacks of mail and other things. I've grown used to seeing it around.

I thought I should do some homework, that it might be a good thing to know where this image comes from. Never having seen Vertov's film, I ordered it on video, but I found myself avoiding every chance to watch it. I guess I don't want to know - I've become attached to my own feelings about the image. Knowing what it's supposed to be would certainly spoil it for me.

Mystery aside, the "mystery still" has a certain obviousness: it implies speed, movement, a shiny wetness. Perhaps all that adds up to suggest is a lack of control, some slapstick moment when the camera - the head - is left spinning like a top, the very image of vertigo. Or it could be one of those hilariously skiddy cartoon incidents: the whirling of the Tasmanian Devil, or, if you turn the image sideways, Wile E. Coyote plummeting for the -nth time off a towering precipice, trailing vertical lines but minus the little puffs of air.

Once tipped on its side, the image again reveals itself as the impossibly long gleaming hair of the Breck Girl, seen at close range; or maybe it's a wide, nylon paintbrush, the kind you use for walls. Something with a natural wave.

Sometimes the image feels like a straight photograph, especially since we regard it through its black frame, an instant mechanically reproduced without the aid of the hand. It suggests the slippery filming of some wet stretch of road at night, the reflective glare of headlights. It must be a photograph of an accident, possibly taken by accident.

But speaking of natural waves: couldn't this be a detail from one of Vija Celmins' ocean surfaces, so strikingly regular in its irregularity? Or possibly it's a small section from a Gerhard Richter abstraction - those monumental squeegeed surfaces - bringing to mind the idea of effacement as well as of movement, the queasy quality of a partly erased blackboard.

Which brings me to how the image actually functions for me: as a painting. Painting as artifice, supplying the feeling of movement when there is none, extending the promise of light, if only one passes swiftly through the closing darkness. And as with a Richter, though one may be thrilled by sensual presence, one senses the overwhelming absence of something as well, and hence the bite of the enduring conflict between material and immaterial. Something has been scraped away from the surface in a violent swoop - something that will forever remain unknown. While this film still, plucked from Vertov's movie, is clearly not made of paint, it contains all the aggressive ambiguity of paint in just one frame: tragedy turned slapstick; violent accident revealed as art...

...And just as I was thinking that, I could no longer deny the obvious. As when one regards a painting, so much of one's response comes from inside one's own head - all of the above, in fact. It's just stuff that I've brought to the table myself, not contained anywhere within this image after all. So I may never want to see Vertov's movie; it would probably be a downer now that I think of it. Seeing it now would just rub it in; how crazy I must have been to imagine even for an instant that this disembodied frame might reveal in its mute way some kind of fleeting redemption.

_____________________________________________________________________

Creative Commons License This essay is licensed under a Creative Commons (Attribution-Noncommercial -No Derivative Works 3.0 License (US).

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