The thin layer of atmosphere that clings to the surface of our planet is a fragile and corrupted brew. Air is in constant, restless migration around the globe, connecting us in the most intimate fashion. From the dust storms that sweep into Beijing from faraway deserts to the smog from Chinese factories that shrouds Los Angeles, our air, the ultimate commons, is tragically defenseless. Breathing air is an involuntary physical function, but keeping the air breathable requires acts of political imagination and will.
In Mexican Modernity, Rubén Gallo tells the story of a second Mexican Revolution, a battle fought on the front of cultural representation. The new revolutionaries were not rebels or outlaws but artists and writers; their weapons were cameras, typewriters, radios, and other technological artifacts, and their goal was not to topple a dictator but to dethrone nineteenth-century aesthetics.
Most of our theories of laughter are not concerned with laughter. Rather, their focus is the laughable object, whether conceived of as the comic, the humorous, jokes, the grotesque, the ridiculous, or the ludicrous. In Laughter, Anca Parvulescu proposes a return to the materiality of the burst of laughter itself. She sets out to uncover an archive of laughter, inviting us to follow its rhythms and listen to its tones.
"Our job is to tell stories we have heard and to bear witness to what we have seen. The science was already there when we started in 2004, but we wanted to emphasize the human dimension, especially for those most vulnerable." —Guy-Pierre Chomette, Collectif Argos
American television embodies a paradox: it is a privately owned and operated public communications network that most citizens are unable to participate in except as passive specators. Television creates an image of community while preventing the formation of actual social ties because behind its simulated exchange of opinions lies a highly centralized corporate structure that is profoundly antidemocratic.
In Theorizing Digital Cultural Heritage, experts offer a critical and theoretical appraisal of the uses of digital media by cultural heritage institutions. Previous discussions of cultural heritage and digital technology have left the subject largely unmapped in terms of critical theory; the essays in this volume offer this long-missing perspective on the challenges of using digital media in the research, preservation, management, interpretation, and representation of cultural heritage.
"Alone in his forest dwelling, an ogre had spent years building machines to force his visitors to make love to one another: machines with pulleys, chains, clocks, collars, leather leggings, metal breastplates, oscillatory, pendular, or rotating dildos. One day, some adolescents who had lost their way, seven or eight brothers, entered the ogre's house..."
—From The Screwball Asses
"Our asshole is revolutionary."
"Workers of the world, masturbate!"
—Front Homosexuel d'Action Revolutionnaire slogan
We can reach every point in the world but, more importantly, we can be reached from any point in the world. Privacy and its possibilities are abolished. Attention is under siege everywhere. Not silence but uninterrupted noise, not the red desert, but a cognitive space overcharged with nervous incentives to act: this is the alienation of our times... —from The Soul at Work