JiscMail Logo
Email discussion lists for the UK Education and Research communities

Help for CYBER-SOCIETY-LIVE Archives


CYBER-SOCIETY-LIVE Archives

CYBER-SOCIETY-LIVE Archives


CYBER-SOCIETY-LIVE@JISCMAIL.AC.UK


View:

Message:

[

First

|

Previous

|

Next

|

Last

]

By Topic:

[

First

|

Previous

|

Next

|

Last

]

By Author:

[

First

|

Previous

|

Next

|

Last

]

Font:

Proportional Font

LISTSERV Archives

LISTSERV Archives

CYBER-SOCIETY-LIVE Home

CYBER-SOCIETY-LIVE Home

CYBER-SOCIETY-LIVE  2001

CYBER-SOCIETY-LIVE 2001

Options

Subscribe or Unsubscribe

Subscribe or Unsubscribe

Log In

Log In

Get Password

Get Password

Subject:

[CSL]: Article 94: Material Memories: Time and The Cinematic Imag e

From:

John Armitage <[log in to unmask]>

Reply-To:

The Cyber-Society-Live mailing list is a moderated discussion list for those interested <[log in to unmask]>

Date:

Thu, 3 May 2001 08:12:16 +0100

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (518 lines)

From: CTHEORY Editor [mailto:[log in to unmask]] Sent: Wednesday, May 02, 2001 5:35 PM
To: ctheory
Subject: Article 94: Material Memories: Time and The Cinematic Image



 _____________________________________________________________________
CTHEORY THEORY, TECHNOLOGY AND CULTURE VOL 24, NO 1-2

 Article 94  02-05-01  Editors: Arthur and Marilouise Kroker
 _____________________________________________________________________

 Material Memories:
 Time and The Cinematic Image*

 =====================================================================
 ~Paul D. Miller (Dj Spooky)~


 "Time is invention, or it is nothing at all..."
 -Gilles Deleuze, _Movement-Image_

 "I am the OmniAmerican born of beats and blood, the concert of the
 sun unplugged..."
 -Saul Williams, _Om Ni American_

 It was Maya Deren who said it a long time ago: "A ritual is an action
 distinguished from all others in that it seeks the realization of its
 purpose through the exercise of form." [1] The time was 1945 and she was
 to later go on to be one of the first cinematographers to document
 the Voudon dances of Haiti. For her film was both rupture and
 convergence -- the screen was a place where the sense of vision was
 conveyed by time and its unfolding in the images of her
 investigation. Black bodies, white screens -- a ritual played out in
 the form of possession and release in her projections. The rhythms of
 fragmentation and loss for her were a new currency, a new way to
 explore the optical poetry of the Americas reflected in the dances of
 the Caribbean. Time and cinema for her were one dance, one meshwork
 of physical and psychological time, the rhythms were altars of a new
 history written in the movements of dance. In her 1945 film "Ritual
 in Transfigured Time" she explored the poetry of suspended time to
 try to create a new artform of the American cinema, a ritual of
 rhythm and noise that would engage everything from later films like
 "Divine Horsemen" (her homage to the Loa of Haiti) to her classic
 1948 film "Meditation on Violence" that explored the Wu-Tang school
 of boxing (not the liquid swords of Staten Island, but the Chinese
 art based on the _Book of Changes_ in China). Ritual time, visual
 time -- both were part of a new history unfolding on the white
 screens of her contemporary world. She sought a new art to mold time
 out of dance, a social sculpture carved out of celluloid gestures and
 body movements caught in the prismatic light of the camera lens: "in
 this sense [ritual] is art, and even historically, all art derives
 from ritual. Being a film ritual, it is achieved not in spatial terms
 alone, but in terms of Time created by the camera." [2] In the lens of
 the camera the dance became a way of making time expand and become a
 ritual reflection of reality itself. Film became total. Became time
 itself -- a mnemonic, a memory palace made of the gestures captured
 on the infinitely blank screen.

 "Money is time, but time is not money." It's an old phrase that
 somehow encapsulates that strange moment when you look out your
 window and see the world flow by -- a question comes to mind: "How
 does it all work?" Trains, planes, automobiles, people, transnational
 corporations, monitor screens... large and small, human and
 non-human... all of these represent a seamless convergence of time
 and space in a world consisting of compartmentalized moments and discrete
 invisible transactions.  Somehow it all just works. Frames per
 second, pixels per square inch, color depth resolution measured in
 the millions of subtle combinations possible on a monitor screen...
 all of these media representations still need a designated driver.
 From the construction of time in a world of images and advertising,
 it's not that big a leap to arrive at a place like that old Wu-Tang
 song said a while ago "C.R.E.A.M" -- "Cash Rules Everything Around
 Me."  That's the end result of the logic of late capitalist
 representations redux.

 Think of the scenario as a Surrealists' walking dream put into a
 contemporary context. Andre Breton first stated the kind of will to
 break from the industrial ~roles~ culture assigned everyone in Europe
 back in 1930: "the simplest Surrealist act consists of dashing down
 into the street, pistol in hand, and firing blindly as fast as you
 can, as fast as you can pull the trigger, into the crowd. Anyone who
 at least once in his life, has not dreamed of thus putting an end to
 the petty system of debasement and cretinization in effect has a
 well-defined place in that crowd, with his belly at barrel level."
 [3]  Weapons drawn and firing as you take a sleepwalk through the
 crowded thoroughfares and shopping malls of the information age, your
 surrealistic statement makes even less sense than the world that you
 want to join as you become a mediated celebrity straight out of a
 Ballard short story or maybe Warhol's kind of 15 minutes of fame.

 What the Surrealists called "automatic writing" -- letting
 subconscious thought become a formalized artistic act -- gets
 flipped, becoming a gangsta dreamtime remix, like an open source
 Linux coded operating system, psychogeographic shareware for the open
 market in a world where identity is for sale to the highest bidder.
 Screen time. Prime Time: Life as a infinite level video game with an
 infinite array of characters to pick from. It's one of those
 situations where, poker-faced, the dealer asks you, "pick a card, any
 card..."  It's a game that asks -- "who speaks through you?" There
 are a lot of echoes in the operating system, but that's the point.
 The game goes on. The moment of revelation is encoded in the action:
 you become the star of the scene, your name etched in bullets ripping
 through the crowd. Neon lit Social-Darwinism for the technicolor age.
 Set your browser to drift mode and simply float: the sequence really
 doesn't care what you do as long as you are watching. "Now" becomes a
 method for exploring the coded landscapes of contemporary
 post-industrial reality, a flux, a Situationist reverie, a
 "psychogeographie" -- a drift without beginning or end...  Ask
 any high school student in the U.S. and they can tell you the same
 thing.

 Most people trace the idea of time without variation to Newton's 1687
 _Principia_. With the term "Absolute Time" he created a sense that
 the world moved in a way that only allow one progression, one
 sequence of actions. Joel Chadabe's (director of the Electronic Music
 Foundation in the U.S.) book length essay on the idea of Time and
 electronic music, "Electric Sound," points us to the old referential
 style of thought that Newton highlighted:

     as if models of a synchronous universe, every musical
     composition and painting of the Newtonian period -- roughly from
     1600 to 1900 -- reflected one line of time. In every musical
     composition, there was but one line of chord progressions to
     which all notes were synchronized. In every painting, there was
     but one line of travel for the viewers' eyes, one perspective to
     which all objects were synchronized. [4]

 The kind of synchronized time imagined in this scenario is what, by
 most accounts, fueled the Industrial Revolution, and lubricated a
 culture based on highly stratified regulation of the limited amounts
 of time available for production. Einstein's 1905 special theory of
 relativity paved the way for the physics that Richard P. Feynman
 would extend and develop much later in the century. As Chadabe puts
 it: "Einstein's universe was a multiplicity of parallel and
 asynchronous timelines."[5] Chronos, the Greek god of Time, was a
 cannibal: he devoured his children and left the universe barren. From
 time all things emerge and into Time all things go. Chronos at the
 heart of Europe, Chronos at the crossroads becomes a signpost in
 suspension -- multiplication of time versus the all consuming one
 track time, one track mind.

 Anyway, feel a million flurries of now, a million intangibles of the
 present moment, an infinite permutation of what could be... the
 thought gets caught... You get the picture. In the data cloud of
 collective consciousness, it's one of those issues that just seems to
 keep popping up. Where did I start? Where did I end? First and
 foremost, it's that flash of insight, a way of looking at the
 fragments of time. Check it: visual mode -- open source, a
 kinematoscope of the unconscious: a bullet that cuts through
 everything like a Doc Edgerton, E.J. Maret or Muybridge flash frozen
 frame. You look for the elements of the experience, and if you think
 about it, even the word "analysis" means to break down something into
 its component parts. Stop motion: weapons drawn, flip the situation
 into a new kind of dawn... It's only a rendition of Breton's dream --
 surrealism as a mid-summer night's scheme, check the drift in the
 21st Situationist scene. A scenario on the screen: camera obscura,
 the perspective unbound walking through a crowd, gun drawn, firing
 wildly until everyone is gone... could it be another version, another
 situation...  like the police whose 19 out of 41 bullets shot Diallo
 dead or the kids that walk into the schools to live out their most
 powerful stunningly banal lives by ending their classmates.  This is
 how it is in the sign of the times -- an advertising link to the
 symbols of a lawless world, something anything to grasp onto to give
 meaning to the ultra swirl...

 Or something like that.

 For Breton and the Surrealists that moment of total freedom --
 walking into a crowd firing blindly, was a psycho-social critique of
 the way that time and culture had been regimented in an industrial
 society. Freedom was in the abandonment of the roles that they, like
 everyone else around them, were forced to play. Flip the script,
 timestretch the code: From Frederick Winslow Taylor's "clockwork
 economy" that was taken from his _Principles of Scientific
 Management_ on up to the hypercondensed TV commercials of the early
 21st century the motif: "Money is time, but time is not money."

 What happens when you look at the time part of the phrase? You're
 left with a paradox in math and physics translated into the social
 realm of human transactions and the uncanny system of correspondences
 that make up the components of reality as we know it. What would
 happen if the dream stopped? What would happen if the bright lights
 and technicolor illusions that hold contemporary reality together
 were swept away in a swirl of static? What would we do if that place
 where all the stories come from suddenly vanished like a mirage in
 the desert of our collective dreams? As the amount of information out
 there explodes exponentially and threatens to become almost the only
 way people relate to one another, it's a question that seems to beg a
 response: what would happen if it just vanished and the lights went
 out?

 I write this after a week of intense activity -- a trip to Washington
 D.C. where I saw first-hand some of the time machines the Naval
 Observatory on Massachusetts Avenue uses to measure half-life decay
 of cesium particles and their relationship to the precise measurement
 of time, and then the image and soundtrack switched and now I'm in
 Austin, Texas, half a country away, for the SXSW film festival of
 interactive media. Crossfade to a week later, Newark Airport,
 transfer to the Toronto Music Festival... The script unfolds while
 the fragments coalesce. I like to think of this kind of writing as a
 script information  -- the self as "subject-in-synchronization" (the
 moving parts aligned in the viewfinder of an other), rather than the
 old 20th century inheritance of  the Cartesian subject-object
 relation.  What are the ontological implications for such a shift?
 What does this kind of "filmic time" do to the creative act, and how
 do we represent it? It's been well documented that music has engaged
 these issues from the beginning of the cinematic moment. From D.W.
 Griffith's awe inspiring classic _Birth of a Nation_, to the first
 sound film _The Jazz Singer_, the issue of how to deal with different
 approaches to the notion of fragmented time -- and how we portray it
 -- has haunted the cinema. After a couple of years of movies like
 _The Matrix_, _Bamboozled_, and _Blair Witch Project_ it seems that,
 without a doubt, the conflicting impulse of how to portray
 psychological time has become a core motif in cinema. Early films,
 like Oskar Fischinger animation intro for Disney's _Fantasia_ or Man
 Ray's film shorts explored how to portray the human subject in
 relation to the objects around us. But when jazz entered the picture,
 that's when things really flipped into a more immersive narrative
 context. The first sound film to hit pop culture's criteria of  mass
 sales and massive influence was Alan Crosland's 1927 epic _The Jazz
 Singer_ -- film shorts were used to keep audiences occupied while
 film reels were changed. The ongoing relationship of how to go
 between images arrives and conquers -- becomes song.

 A blip on the radar? A database sweep? A streamed numerical sequence?
 In a short space, my narrative has switched formats and functions,
 time and place -- all were kind of like fonts -- something to be used
 for a moment to highlight a certain mode of expression, and, of
 course, utterly pliable. As I sit here and type on my laptop, even
 the basic format of the words I write still mirrors some of the early
 developments in graphical user interface based texts, still echoes
 not only in how I write, but how I think about the temporal placement
 of the words and ideas I'm thinking about. It's a world-view that
 definitely ain't linear but came out of the graphical user interfaces
 invented by the likes of Alan Kay, and Douglas Engelberts, and Ivan
 Sutherland -- stuff that let you move into the screen and interact
 with the icons and objects on the monitors surface. Into the picture,
 into the frame -- that's the name of the game. Context becomes
 metatext, and the enframing process, as folks as diverse as Iannis
 Xenakis, Kool Keith aka Dr. Octagon or Eminem can tell you, like
 Freidrich Kittler, "Aesthetics begins as 'pattern recognition.'" [6]

 Repetition and Claude Shannon? Repetition and James Snead? As has
 been well documented by folks such as Tricia Rose, James Snead, and
 Sherry Turkle (whose book _The Second Self_ could be a digital era
 update on W.E.B. Dubois' critique of African American "Double
 Consciousness" and the multiplying effects of digital media on self
 representation) the sense here is one of prolonging the formal
 implications of the expressive act -- move into the frame, get the
 picture, re-invent your name. Movement, flow, flux: the nomad takes
 on the sedentary qualities of the urban dweller. Movement on the
 screen becomes an omnipresent quality. Absolute time becomes dream
 machine flicker. The eyes move. The body stays still. Travel. Big
 picture small frame, so what's the name of the game? Symbol and
 synecdoche, sign and signification, all at once, the digital codes
 become a reflection, a mirror permutation of the nation... Where to
 go? What to do to get there?

 Sometimes the best way to get an idea across is to simply tell it as
 a story. It's been a while since one autumn afternoon in 1896
 when Georges Melies was filming a late afternoon Paris crowd caught
 in the ebb and flow of the city's traffic. Melies was in the process
 of filming an omnibus as it came out of a tunnel, and his camera
 jammed. He tried for several moments to get it going again, but with
 no luck. After a couple of minutes he got it working again, and the
 camera's lens caught a hearse going by. It was an accident that went
 unnoticed until he got home. When the film was developed and
 projected it seemed as if the bus morphed into a funeral hearse and
 back to its original form again. In the space of what used to be
 called _actualites_ -- real contexts reconfigured into stories that
 the audiences could relate to -- a simple opening and closing of a
 lens had placed the viewer in several places and times
 simultaneously. In the space of one random error, Melies created what
 we know of today as the "cut" -- words, images, sounds flowing out
 the lens projection would deliver, like James Joyce used to say
 "sounds like a river." Flow, rupture, and fragmentation -- all
 seamlessly bound to the viewers perspectival architecture of film and
 sound, all utterly malleable -- in the blink of an eye space and time
 as the pre-industrial culture had known it came to an end.

 Whenever you look at an image, there's a ruthless logic of selection
 that you have to go through to simply create a sense of order. The
 end-product of this palimpsest of perception is a composite of all
 the thoughts and actions you sift through over the last several
 micro-seconds -- a soundbite reflection of a process that's a new
 update of Mary Shelley's _Frankenstein_ or the German proto
 Expressionist 1920 film _Der Golem_, but this time it's the imaginary
 creature made of the interplay fragments of time, code, and (all puns
 intended) memory and flesh. The eyes stream data to the brain through
 something like two million fiber bundles of nerves. Consider the
 exponential aspects of perception when you multiply this kind of
 density by the fact that not only does the brain do this all the
 time, but the millions of bits of information streaming through your
 mind at any moment have to be coordinated. Any shift in the traffic
 of information -- even the slightest rerouting -- can create, like
 the hearse and omnibus of Melies film accident, not only new
 thoughts, but new ways of thinking. Literally. Non-fiction, check the
 meta-contradiction... Back in the early portion of the 20th century
 this kind of emotive fragmentation implied a crisis of
 representation, and it was filmakers, not Dj's who were on the
 cutting edge of how to create a kind of subjective intercutting of
 narratives and times -- there's even the famous story of how
 President Woodrow Wilson when he saw the now legendary amount of
 images and narrative jump-cuts that were in turn cut and spliced up
 in D.W. Griffiths's film classic _Birth of a Nation_ called the style
 of ultra-montage "like writing history with lightning." I wonder what
 he would have said of Grand Master Flash's 1981 classic "Adventures
 on the Wheels of Steel"?

 Film makers like D.W. Griffith, Dziga Vertov, Oscar Michaux, and
 Sergei Eisenstein (especially with his theory of "dialectal montage"
 or "montage of attractions" that created a kind of subjective
 intercutting of multiple layers of stories within stories) were
 forging stories for a world just coming out of the throes of World
 War I. A world which, like ours,  was becoming increasingly
 inter-connected, and filled with stories of distant lands, times and
 places -- a place where cross-cutting allowed the presentation not
 only of parallel actions occurring simultaneously in separate spatial
 dimensions, but also parallel actions occurring on separate temporal
 planes -- in the case of Griffith's _Birth of a Nation_, four stories
 at once -- and helped convey the sense of density that the world was
 confronting... Griffith was known as "the Man Who Invented
 Hollywood," and the words he used to describe his style of
 composition --"intra-frame narrative" or the "cut-in" the "cross-cut"
 -- staked out a space in America's linguistic terrain that hasn't
 really been explored too much. Griffith's films were mainly used as
 propaganda -- _Birth of a Nation_ was used as a recruitment film for
 the Ku Klux Klan at least up until the mid 1960's, and other films
 like _Intolerance_ were commercial failures, and the paradox of his
 cultural stance versus the technical expertise that he brought to
 film, is still mirrored in Hollywood to this day. Jazz time versus
 Hollywood time. _The Jazz Singer_ versus the silence of _Birth of a
 Nation_ on the mind-screens of contemporary America: echo meets alias
 in the coded exchange of glances. What Mikhail Bakhtin might have
 once called "diacritical difference" now becomes "the mix.," or as
 James B. Twitchell says in "Adcult USA" his classic analysis of
 advertising culture, media, and the "carnival of the everyday" in the
 images and sounds that make up the fabric of American daily life:
 "[the situations are] homologues of each other and semilogues of
 those in the genre. Entertainments share diachronic and synchronic
 similarities; they refer to individual texts  as well as to all
 precursors and successors -- every programmers worst fear is that we
 might change the channel." [7]


 If you compare that kind of flux to stuff like Dj mixes, you can see a
 similar logic at work: it's all about selection of sound as
 narrative. I guess that's travelling by synecdoche. It's a process of
 sifting through the narrative rubble of a phenomenon that conceptual
 artist Adrian Piper liked to call the "indexical present:" "I use the
 notion of the 'indexical present' to describe the way in which I
 attempt to draw the viewer into a direct relationship with the work,
 to draw the viewer into a kind of self critical standpoint which
 encourages reflection on one's own responses to the work..."

 To name, to call, to upload, to download... take on the notion of
 dance and memory. By moving across the screen you uncover slowly
 deteriorating images of dancehalls -- a lyrical critique of how much
 we move physically and the immense amount of potential culture has
 for change, a project that's based on geographic and temporal
 simultaneity -- i.e. creating a new time-zone out of widely dispersed
 geographic regions -- reflect the same ideas by using the net to
 focus our attention on a world rapidly moving into what I like to
 call "prosthetic realism." Sight and sound, sign and signification:
 the travel at this point becomes mental, and as with Griffith's hyper
 dense technically prescient intercuts, it's all about how you play
 with the variables that creates the artpiece. If you play, you get
 something out of the experience. If you don't, like Griffith -- the
 medium becomes a reinforcement of what's already there, and or as one
 critic, said a long time ago of Griffith's _Intolerance_: "history
 itself seems to pour like a cataract across the screen..." This is
 the James Snead critique of what Spike Lee ironically called "Colored
 Peoples Time" in _Bamboozled_, or what Morpheus in the form of
 Lawrence Fishbourne asked Neo in the _Matrix_: "Do you think that's
 air you're breathing in here?"

 Like an acrobat drifting through the topologies of codes, glyphs and
 signs that make up the fabric of my everyday life, I like to flip
 things around. With a culture based on stuff like Emergency Broadcast
 Network's hyper-edited news briefs, Ninja Tune dance moguls, Cold Cut's
 "7 Minutes of Madness" remix of Eric B and Rakim's "Paid in Full" to
 Grandmaster Flash's "Adventures on the Wheels of Steel" to later
 excursions into geographic, cultural, and temporal dispersion like
 MP3lit.com -- contemporary 21st Century aesthetics needs to focus on
 how to cope with the immersion we experience on a daily level -- a
 density that Sergei Eisenstein back in 1929 spoke of when he was
 asked about travel and film:"the hieroglyphic language of the cinema
 is capable of expressing any concept, any idea of class, any
 political or tactical slogan, without recourse to the help of suspect
 dramatic or psychological past" Does this mean that we make our own
 films as we live them? Travelling without moving. It's something even
 Aristotle's "Unmoved Mover" wouldn't have thought possible. But hey,
 like I always say, "who's counting?" Chronos -- the all consuming
 father -- watches as somehow his children are given a "stay of
 execution" and he is forced to stay hungry -- what happens when a
 scene is no longer a scenario, but a computational process?


 Notes
 -----
  *Notes for the Oberhausen Film Festival, (Forthcoming).

  [1] Maya Deren, "Ritual in Transfigured Time," _Experimental Films_,
 New York: Mystic Fire Video, 1945-6.

  [2] Ibid.

  [3] Andre Breton, _Manifestoes of Surrealism_, translated by Richard
 Seaver and Helen R. Lane, Ann Arbor: Ann Arbor Paperbacks, 1972.
 p. 124.

  [4] Joel Chadabe, _Electric Sound: The Past and Promise of
 Electronic Music_.  New Jersey: Prentice Hall, 1997. p. 21.

  [5] Ibid., p. 22

  [6] Friedrich Kittler, _Literature/Media/Information Systems:
 Essays_. John Johnston, editor.  Amsterdam: Overseas Publishers
 Association, 1997.  p.130

  [7] James B. Twictchell, _Adcult USA: The Triumph of Advertising in
 American Culture_.  New York: Columbia University Press, 1996.


 ____________________________________________________________________

 Paul D. Miller is a conceptual artist, writer, and musician working
 in NYC. His written work has appeared in The Village Voice, The
 Source, Artforum, Raygun, Rap Pages, Paper Magazine, and a host of
 other periodicals. He is a co-Publisher of the magazine "A Gathering
 of the Tribes" -- a periodical dedicated to new works by writers from
 a multi-cultural context.  Miller is most well known under the
 moniker of his "constructed persona" as "Dj Spooky that Subliminal
 Kid". Miller has recorded a large volume of music as "Dj Spooky that
 Subliminal Kid" and has collaborated with a wide variety of pre-eminent
 musicians and composers.
 ____________________________________________________________________

 * CTHEORY is an international journal of theory, technology
 * and culture. Articles, interviews, and key book reviews
 * in contemporary discourse are published weekly as well as
 * theorisations of major "event-scenes" in the mediascape.
 *
 * Editors: Arthur and Marilouise Kroker
 *
 * Editorial Board: Jean Baudrillard (Paris), Bruce Sterling (Austin),
 * R.U. Sirius (San Francisco), Siegfried Zielinski (Koeln),
 * Stelarc (Melbourne), Richard Kadrey (San Francisco),
 * Timothy Murray (Ithaca/Cornell), Lynn Hershman Leeson
 * (San Francisco), Stephen Pfohl (Boston), Andrew Ross
 * (New York), David Cook (Toronto), William Leiss (Kingston),
 * Shannon Bell (Downsview/York), Gad Horowitz (Toronto),
 * Sharon Grace (San Francisco), Robert Adrian X (Vienna),
 * Deena Weinstein (Chicago), Michael Weinstein (Chicago),
 * Andrew Wernick (Peterborough).
 *
 * In Memory: Kathy Acker
 *
 * Editorial Correspondents: Ken Hollings (UK),
 * Maurice Charland (Canada) Steve Gibson (Victoria, B.C.).
 *
 * Editorial Assistant: Jeffrey Wells
 * World Wide Web Editor: Carl Steadman

 ____________________________________________________________________
 To view CTHEORY online please visit:
 http://www.ctheory.com/

 To view CTHEORY MULTIMEDIA online please visit:
 http://ctheory.concordia.ca/
 ____________________________________________________________________

 * CTHEORY includes:
 *
 * 1. Electronic reviews of key books in contemporary theory.
 *
 * 2. Electronic articles on theory, technology and culture.
 *
 * 3. Event-scenes in politics, culture and the mediascape.
 *
 * 4. Interviews with significant theorists, artists, and writers.
 *
 * CTHEORY is sponsored by New World Perspectives and Concordia
 * University.
 *
 * For the academic year 2000/1, CTHEORY is sponsored
 * by the Department of Sociology, Boston College
 * (http://www.bc.edu/bc_org/avp/cas/soc/socdept.html)
 *
 * The editors wish to thank, in particular, Boston College's
 * Dr. Joseph Quinn, Dean, College of Arts and Science, Dr. John
 * Neuhauser, Academic Vice-President, and Dr. Stephen Pfohl,
 * Chairperson, Department of Sociology for their support.
 *
 * No commercial use of CTHEORY articles without permission.
 *
 * Mailing address: CTHEORY, Boston College, Department of Sociology,
 * 505 McGuinn Hall, Chestnut Hill, MA 02467.
 *
 * Full text and microform versions are available from UMI,
 * Ann Arbor, Michigan; and Canadian Periodical Index/Gale
 * Canada, Toronto.
 *
 * Indexed in: International Political Science Abstracts/
 * Documentation politique international; Sociological
 * Abstract Inc.; Advance Bibliography of Contents: Political
 * Science and Government; Canadian Periodical Index;
 * Film and Literature Index.
 ____________________________________________________________________

************************************************************************************
Distributed through Cyber-Society-Live [CSL]: CSL is a moderated discussion
list made up of people who are interested in the interdisciplinary academic
study of Cyber Society in all its manifestations.To join the list please visit:
http://www.jiscmail.ac.uk/lists/cyber-society-live.html
*************************************************************************************

Top of Message | Previous Page | Permalink

JiscMail Tools


RSS Feeds and Sharing


Advanced Options


Archives

March 2024
February 2024
January 2024
December 2023
November 2023
October 2023
September 2023
August 2023
July 2023
June 2023
May 2023
April 2023
March 2023
February 2023
January 2023
December 2022
November 2022
October 2022
September 2022
August 2022
June 2022
May 2022
March 2022
February 2022
October 2021
July 2021
June 2021
April 2021
March 2021
February 2021
January 2021
December 2020
November 2020
October 2020
September 2020
July 2020
June 2020
May 2020
April 2020
February 2020
January 2020
December 2019
November 2019
October 2019
September 2019
August 2019
July 2019
June 2019
May 2019
March 2019
February 2019
January 2019
December 2018
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
January 2017
December 2016
November 2016
October 2016
September 2016
August 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
August 2015
July 2015
June 2015
May 2015
April 2015
March 2015
February 2015
January 2015
December 2014
November 2014
October 2014
September 2014
August 2014
June 2014
May 2014
April 2014
March 2014
February 2014
January 2014
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
October 2011
September 2011
July 2011
June 2011
May 2011
April 2011
March 2011
February 2011
January 2011
December 2010
November 2010
October 2010
September 2010
August 2010
July 2010
June 2010
May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
June 2008
May 2008
April 2008
March 2008
February 2008
January 2008
December 2007
November 2007
October 2007
September 2007
June 2007
May 2007
April 2007
March 2007
February 2007
January 2007
2006
2005
2004
2003
2002
2001
2000


JiscMail is a Jisc service.

View our service policies at https://www.jiscmail.ac.uk/policyandsecurity/ and Jisc's privacy policy at https://www.jisc.ac.uk/website/privacy-notice

For help and support help@jisc.ac.uk

Secured by F-Secure Anti-Virus CataList Email List Search Powered by the LISTSERV Email List Manager