Hi all,
This is a complimentary piece to my recent interview with Virilio.
It is an updated version of a conference paper I gave at the Virilio session
at the Cultural Studies Conference in Birmingham, UK last June. Other taking
part were fellow CSL members Verena Andermatt Conley, Mark Featherstone,
Sean Cubitt and William Merrin.
Presumably, the Krokers will publish the other half next week -- its around
7,000 words all told.
I would be grateful if CSL members would spread it around a few lists for
me.
Any comments welcome.
Best wishes
John
=================================================================
From: ctheory [mailto:[log in to unmask]]
Sent: Wednesday, November 15, 2000 5:44 PM
To: [log in to unmask]
Subject: CTHEORY Article 90[1] - Paul Virilio Hypermodern
____________________________________________________________________
CTHEORY THEORY, TECHNOLOGY AND CULTURE VOL 23, NO 3
Article 90[1] 15-11-00 Editors: Arthur and Marilouise Kroker
____________________________________________________________________
Beyond Postmodernism? [Part 1]
Paul Virilio's Hypermodern Cultural Theory
==========================================
~John Armitage~
------------------------------------------
Paul Virilio is one of the most significant French cultural theorists
writing today.[1] Increasingly hailed as the inventor of concepts
such as 'dromology' (the 'science' of speed), Virilio is renowned for
his declaration that the logic of acceleration lies at the heart of
the organization and transformation of the modern world. However,
Virilio's thought remains much misunderstood by many postmodern
cultural theorists. In this article, and supporting the
ground-breaking work of Arthur and Marilouise Kroker, I shall
evaluate the contribution of Virilio's writings by suggesting that
they exist ~beyond~ the terms of postmodernism and that they should
be conceived of as a contribution to the emerging debate over
'hypermodernism'. Consequently, the article details Virilio's
biography and the theoretical context of his work before outlining
the essential contributions Virilio has made to contemporary cultural
theory. In later sections an appraisal of Virilio's hypermodernism,
together with a short evaluation of the controversies surrounding
Virilio's work, will be provided before the conclusion.
The World According to Paul Virilio
-----------------------------------
Born in Paris in 1932 to a Breton mother and an Italian Communist
father, Virilio was evacuated in 1939 to the port of Nantes, where he
was traumatised by the spectacle of Hitler's ~Blitzkrieg~ during
World War II. After training at the Ecole des Metiers d' Art in
Paris, Virilio became an artist in stained glass and worked alongside
Matisse in various churches in the French capital. In 1950, he
converted to Christianity in the company of 'worker-priests' and,
following military conscription into the colonial army during the
Algerian war of independence (1954-1962), Virilio studied
phenomenology with Merleau-Ponty at the Sorbonne. Captivated by the
military, spatial, and organizational features of urban territory,
Virilio's early writings began to appear while he was acting as a
self-styled 'urbanist', in _Architecture Principe_ (Virilio and
Parent, 1996), the group and review of the same name he established
with the architect Claude Parent in 1963. Although Virilio produced
numerous short pieces and architectural drawings in the 1960s, his
first major work was a photographic and philosophical study of the
architecture of war entitled _Bunker Archeology_ (1994a [1975]). The
creator of concepts such as 'military space', 'dromology', and the
'aesthetics of disappearance', Virilio's phenomenologically grounded
and controversial cultural theory draws on the writings of Husserl,
Heidegger, and, above all, Merleau Ponty.[2] After participating in
the ~evenements~ of May 1968 in Paris, Virilio was nominated
Professor by the students at the Ecole Speciale d' Architecture,
and he later helped Jacques Derrida and others to found the
International College of Philosophy. An untrained architect, Virilio
has never felt compelled to restrict his concerns to the spatial
arts. Indeed, like his philosopher companions, the late Michel
Foucault, Gilles Deleuze, Felix Guattari and Jean-Francois Lyotard,
Virilio, like his current sympathetic adversary, Jean Baudrillard,
has written numerous texts on a variety of cultural topics.
Commencing with _Speed & Politics: An Essay on Dromology_ (1986
[1977]) before moving on to _The Aesthetics of Disappearance_ (1991a
[1980]), _War and Cinema: The Logistics of Perception_ (1989 [1984]),
_Politics of the Very Worst_ (1999a [1996]), _Polar Inertia_ (1999b
[1990]), _The Information Bomb_ (2000a [1998]) and, most recently,
_Strategy of Deception_ (2000b [1999]), the power of Virilio's
cultural theory has only recently begun to be felt in the
English-speaking world. This situation is probably due in no small
part to the fact that, despite receiving several international
speaking invitations weekly, he rarely leaves Paris and seldom
converses in public outside France. Virilio retired from teaching in
1998. He currently devotes himself to writing and working with
private organizations concerned with housing the homeless in Paris.
The importance of Virilio's theoretical work stems from his central
claim that, in a culture dominated by war, the military-industrial
complex is of crucial significance in debates over the creation of
the city and the spatial organization of cultural life. In _Speed &
Politics_, for example, Virilio offers a credible 'war model' of the
growth of the modern city and the development of human society. Thus,
according to Virilio, the fortified city of the feudal period was a
stationary and generally unassailable 'war machine' coupled to an
attempt to modulate the circulation and the momentum of the movements
of the urban masses. Therefore, the fortified city was a political
space of habitable inertia, the political configuration, and the
physical underpinning of the feudal era. Nevertheless, for Virilio,
the essential question is why did the fortified city disappear? His
rather unconventional answer is that it did so due to the advent of
ever increasingly transportable and accelerated weapons systems. For
such innovations 'exposed' the fortified city and transformed siege
warfare into a war of ~movement~. Additionally, they undermined the
efforts of the authorities to govern the flow of the urban citizenry
and therefore heralded the arrival of what Virilio (Virilio and
Parent, 1996: xv) calls the 'habitable circulation' of the masses.
Unlike Marx, then, Virilio postulates that the transition from
feudalism to capitalism was not an economic transformation but a
military, spatial, political, and technological metamorphosis.
Broadly speaking, where Marx wrote of the materialist conception of
history, Virilio writes of the military conception of history.
Beginning in 1958 with a phenomenological inquiry into military space
and the organization of territory, particularly concerning the
'Atlantic Wall' -- the 15,000 Nazi bunkers built during World War II
along the coastline of France to repel any Allied assault -- Virilio
deepened his explorations within the ~Architecture Principe~ group.
An absolutely crucial but somewhat overlooked aspect of Virilio's
work from the beginning is his continuing allegiance to a
psychologically based ~gestalt~ theory of perception.[3] This theory
was not only chiefly responsible for Virilio and Parent's development
of the concept of the 'oblique function' but also for their
construction of the 'bunker church' in Nevers in 1966 and the
Thomson-Houston aerospace research centre in Villacoubly in 1969
(Johnson, 1996). Later, Virilio broadened his theoretical sweep,
arguing in the 1970s, for example, that the relentless militarization
of the contemporary cityscape was prompting what Deleuze and Guattari
(1988: 453) call the 'deterritorialization' of capitalist urban space
and what Virilio terms the arrival of speed or ~chronopolitics~.
Reviewing the frightening dromological fall-out from the
communications technology revolution in information transmission,
Virilio investigated the prospects for 'revolutionary resistance' to
'pure power' and began probing the connections between military
technologies and the organization of cultural space. Consequently,
during the 1980s, Virilio cultivated the next significant phase of
his theoretical work through aesthetically derived notions of
'disappearance', the 'fractalization' of physical space, war, cinema,
logistics, and perception. Further, as Arthur Kroker (1992: 20-50)
has suggested, throughout the late 1980s and early 1990s, Virilio
critically examined the cultural repercussions of the use of
remote-controlled and cybernetic technologies in the rapidly
accelerating urban environment of 'techno' or 'crash' culture.
Tracking the 'third age of military weaponry' in the shape of new
information and communications technologies such as the Internet,
Virilio's post-Einsteinian cultural theory is presently focused on
the idea of 'polar inertia', the 'third', or, 'transplant
revolution', Stelarc's cybernetic performance art, and the Persian
Gulf and Kosovo wars.[4] Nonetheless, a significant strand of his
current thinking is also centred on Virilio's critical conception of
'endo-colonization', 'cyberfeminism', 'technological
fundamentalism', 'the information bomb', and 'the strategies of
deception'.
Although there can be no doubt that Virilio has made a significant
contribution to the Krokers' (Kroker and Kroker, 1997; Armitage,
1999) initial development of 'hypermodern' cultural theory, it is
important to stress that Virilio characterizes himself as a 'critic
of the art of technology' and not as a cultural or social theorist
(Virilio and Lotringer, 1997: 172). In fact, for the most part,
Virilio abhors cultural theory and sociology in particular. Still,
let us consider his theoretical writings by looking first at
Virilio's contribution to our understanding of the oblique function,
dromology, and the 'integral accident'.
Virilio's Contribution to Cultural Theory
-----------------------------------------
Virilio's early work focused on the oblique function -- a proposed
new urban order based on 'the end of the vertical as an axis of
elevation, the end of the horizontal as permanent plane, in favour of
the oblique axis and the inclined plane' (Virilio and Parent, 1996:
v). Such writings also foreshadowed Virilio's military and political
critiques of deterritorialization and the revolution in information
transmission that surfaced in _Bunker Archeology_, his as yet
untranslated _L'Insecurite du territoire_ (1976) and _Speed &
Politics_. Moreover, it is these themes that make Virilio's current
writings of interest to contemporary postmodern cultural theorists
like Bauman (1999: 120) and 'global information culture' theorists
such as Lash (1999: 285-311).
Virilio's doubts about the political economy of wealth are primarily
driven by his 'dromocratic' conception of power. Considering Von
Clausewitz's _On War_ (1997 [1832]) to be outmoded, Virilio is
decisively influenced by Sun Tzu's ancient Chinese text, _The Art of
War_ (1993). Debating with himself about war, the 'positive'
(Fascist) and 'negative' (anti-Fascist) aspects of Marinetti's
artistic theory of Futurism, Virilio suggests that political economy
cannot be subsumed under the political economy of wealth, with a
comprehension of the management of the economy of the state being its
general aim. Indeed, for him, the histories of socio-political
institutions such as the military and artistic movements like
Futurism show that war and the need for speed, rather than commerce
and the urge for wealth, were the foundations of human society. It is
important to state that Virilio is not arguing that the political
economy of wealth has been superseded by the political economy of
speed, rather, he suggests that 'in addition to the political economy
of wealth, there has to be a political economy of speed' (Zurbrugg,
2001: forthcoming.) Hence, in _Popular Defense & Ecological
Struggles_ (1990 [1978]) and _Pure War_ (Virilio and Lotringer, 1997
[1983]), Virilio developed his dromological investigation to include
considerations on pure power -- the enforcement of surrender without
engagement -- and revolutionary resistance -- Virilio's case against
the militarization of urban space. The 'rationale' of pure war might
be encapsulated as the logic of militarized technoscience in the
epoch of 'Infowar'. For Virilio, the epoch of Infowar is an era in
which unspecified civilian 'enemies' are invoked by the state in
order to justify increased spending on the third age of military
weaponry and, in particular, in the form of new information and
communications technologies such as the Internet. Thus, for Virilio,
in the post-Cold War age, the importance of the military-industrial
complex -- or what he calls the 'military-*scientific* complex' is
not decreasing but increasing (Armitage, 2001a: forthcoming. Original
emphasis.) For the weapons of the military-scientific complex are not
merely responsible for integral accidents like the 1987 world stock
market crash, accidents brought about by the failure of automated
program trading, but also for the fact that, 'in the very near
future' it '*will no longer be war that is the continuation of
politics by other means, it will be the integral accident that is the
continuation of politics by other means*' (Armitage, 2001a:
forthcoming. Original emphasis.)
In _The Aesthetics of Disappearance_ and _The Lost Dimension_ (1991b
[1984]), Virilio, a devotee of Mandelbrot's (1977) geometry of
fractals, argues that cultural theory must take account of
interruptions in the rhythm of human consciousness and 'morphological
irruptions' in the physical dimension. Using his concept of
'picnolepsy' (frequent interruption) and Einstein's General
Relativity Theory, he suggests that modern vision and the
contemporary city are both the products of military power and
time-based cinematic technologies of disappearance. Furthermore,
although there are political and cinematic aspects to our visual
consciousness of the cityscape, what is indispensable to them is
their ability to designate the technological disappearance of
Lyotard's (1984) grand aesthetic and spatial narratives and the
advent of micro narratives. In Virilio's terms, Mandelbrot's geometry
of fractals reveals the appearance of the 'overexposed' city -- as
when the morphological irruption between space and time splinters
into a countless number of visual interpretations, and 'the crisis of
whole dimensions' (Virilio, 1991b [1984]: 9-28). Important here is
that Virilio's concerns about the aesthetics of disappearance and the
crises of the physical dimension are not exercised by the textual
construction of totalizing intellectual 'explanations'. Rather, they
are exercised by the strategic positioning of productive
interruptions and the creative dynamics of what he, following
Churchill, calls the 'tendency' (Virilio, 1989 [1984]: 80). As
Virilio maintains in _The Lost Dimension_, the rule in the
overexposed city is the disappearance of aesthetics and whole
dimensions into a militarized and cinematographic field of retinal
persistence, interruption, and 'technological space-time'. Speaking
recently about the overexposed city within the context of the
'totally bogus' court cases surrounding O. J. Simpson and the death
of Princess Diana, Virilio suggested that, today, "*all* cities are
overexposed". London, for example, "was overexposed at the time of
Diana's burial' while 'New York was overexposed at the time of
Clinton's confessions concerning Monica Lewinsky". (Armitage, 2001a:
forthcoming. Original emphasis.)
In _War and Cinema_, Virilio applies the idea of 'substitution' when
discussing the different kinds of reality that have appeared since
the beginning of time. Bearing a remarkable similarity to
Baudrillard's (1983) concept of 'simulation', Virilio's chief concern
is with the connection between war, cinematic substitution and what
he calls the 'logistics of perception' -- the supplying of cinematic
images and information on film to the front line. The importance of
the concept of the logistics of perception can be seen in the context
of 'post' and 'hyper' modern wars like the Persian Gulf War of 1991
and the Kosovo War of 1998-9. For in these kinds of conflicts not
only do settled topographical features 'disappear' in the midst of
battle but so too does the architecture of war. Indeed, the military
high command has only two choices. It can entomb itself in
subterranean bunkers with the aim of evading what one of Coppola's
helicopters in the film _Apocalypse Now_ announced as 'Death from
Above'. Or, alternatively, it can take to the skies with the
intention of invading what Virilio has dubbed in the _CTHEORY_
interview, 'orbital space'. Conceptualising a logistics of perception
where 'the world disappears in war, and war as a phenomenon
disappears from the eyes of the world', Virilio has thus been
analysing the relationship between war, substitution, human and
synthetic perception since the 1980s, particularly in texts such as
_L'ecran du desert: chroniques de guerre_ (1989 [1984]: 66; 1991c).
[5] Virilio's interests in war, cinema and the logistics of
perception are primarily fuelled by his contention that military
perception in warfare is comparable to civilian perception and,
specifically, to the art of filmmaking. According to Virilio,
therefore, cinematic substitution results in a 'war of images', or,
Infowar. Infowar is not traditional war, where the images produced
are images of actual battles. Rather, it is a war where the disparity
between the images of battles and the actual battles is 'derealized'.
To be sure, for Virilio, wars are 'no longer about confrontation' but
about movement -- the movement of 'electro-magnetic waves'.
(Armitage, 2001a: forthcoming.) Similar to Baudrillard's (1995)
infamous claim that the Gulf War did not take place, Virilio's
assertion that war and cinema are virtually indistinguishable is open
to dispute. Yet Virilio's stance on the appearance of Infowar is
consistent with his view that the only way to monitor cultural
developments in the war machine is to adopt a critical theoretical
position with regard to the various parallels that exist between war,
cinema, and the logistics of perception. It is a view he developed in
his trenchant critique of _The Vision Machine_ (1994b [1988]).
In Virilio's universe, therefore, people 'no longer believe their
eyes'. For him, 'their *faith in perception*' has become 'slave to
the faith in the technical *sightline*', a situation in which
contemporary substitution has reduced the 'visual field' to the 'line
of a sighting device' (1994b [1988]: 13. Original emphases.) Viewed
from this angle, _The Vision Machine_ is a survey of what I have
called 'pure perception' (Armitage, 2000a: 3). For, today, the
military-scientific complex has developed ominous technological
substitutions and potentialities such as Virtual Reality and the
Internet. In Virilio's terms, 'the main aim' of pure perception is
'*to register the waning of reality*'. The aesthetics of
disappearance is a form of aesthetics that is derived from 'the
unprecedented limits imposed on subjective vision by the instrumental
splitting of modes of perception and representation' (1994b [1988]:
49. Original emphases.) Hence, Virilio conceives of vision machines
as the accelerated products of what he calls 'sightless vision' --
vision without looking -- that 'is itself merely the reproduction of
an intense blindness that will become the latest and last form of
industrialisation: *the industrialisation of the non-gaze* (1994b
[1988]: 73. Original emphasis.) Virilio further details the
far-reaching cultural relationships between vision and
remote-controlled technologies in _Polar Inertia_.
In _Polar Inertia_, Virilio examines pure perception, speed, and
human stasis. In 'Indirect Light', for example, Virilio considers the
difference between the video screens recently adopted by the Paris
Metro system and 'real' perceptual objects such as mirrors from a
theoretical perspective that broadly conforms to what Foucault (1977)
called 'surveillance societies' and Deleuze (1995) labelled 'control
societies'. In contrast, other articles note the discrepancy between
technologically generated inertia and biologically induced human
movement. Discussing the introduction of 'wave machines' in Japanese
swimming pools, the effacement of a variety of 'local times' around
the world and their gradual replacement by a single 'global time',
Virilio notes the disparity between 'classical optical communication'
and 'electro-optical commutation'. In the era of pure perception,
though, Virilio argues that it is not the creation of acceleration
and deceleration that becomes important but the creation of 'Polar
Inertia'. Here, Virilio proposes that in the early modern era of
mobility, in his terms the era of emancipation, inertia did not
exist. The idea of polar inertia thus excludes what would have been
alternate aspects of the speed equation -- simple acceleration or
deceleration -- in the industrial age. Yet, as Virilio has been
arguing since the 1980s, in the post-industrial age of the absolute
speed of light, real time has now superseded real space. In such
circumstances, the geographical difference between 'here' and 'there'
is obliterated by the speed of light as history itself 'crashes into
the wall of time'. (Armitage, 2001a: forthcoming.) Additionally, in
its terminal mode, as exemplified by reclusive billionaires such as
the late Howard Hughes, polar inertia becomes a kind of Foucauldian
incarceration. Holed up in a single room in the Desert Inn hotel in
Las Vegas for fifteen years, endlessly watching Sturges' _Ice Station
Zebra_, Hughes, Virilio's 'technological monk', was not only polar
inertia incarnate but, more importantly, the first inhabitant of a
'mass phenomenon'. Equally significantly, for Virilio, this
phenomenon has stretched far beyond domestic cinema and TV audiences
and on into the global war zone. In fact, according to him, in recent
conflicts such as the one in Kosovo, the army now 'watches the battle
from the barracks'. As he puts it, "today, *the army only occupies
the territory once the war is over*." (Armitage, 2001a: forthcoming.)
At the broadest level, then, Virilio's writings on polar inertia seek
to show that large tracts of civilian and military physical
geographical spaces no longer have significant human content.
Therefore, in _The Art of the Motor_ (1995 [1993]), Virilio turned
his attention to the relationship between the spaces of the human
body and technology.
At the beginning of the twenty-first century, then, Virilio's
cultural theory is concerned with what he calls the third, or, the
~transplant revolution~ -- the almost total collapse of the
~distinction between the human body and technology~. Intimately
linked to the technological enhancement and substitution of
body-parts through the miniaturisation of technological objects, the
third revolution is a revolution conducted by militarized
technoscience against the human body through the promotion of what
the Virilio calls 'neo-eugenics'. Such developments range across
Virilio's (1995 [1993]: 109-112; Armitage, 2001a: forthcoming)
criticisms of the work of Stelarc, the Australian cybernetic
performance artist, to his concerns about the eventual fate of the
jet-pilots in the Kosovo war. This is because, for Virilio, both
Stelarc and the jet-pilot represent much the same thing: "the last
man before automation takes command". (Armitage, 2001a: forthcoming.)
Nevertheless, it should be stressed that Virilio's criticisms of
automation are closely connected to the development of his concept of
endo-colonization -- what takes place when a political power like the
state turns against its own people, or, as in the case of militarized
technoscience, the human body.
As a result, in _Open Sky_ (1997 [1995]), _Politics of the Very
Worst_, and _The Information Bomb_, Virilio has elaborated a
critique of cyberfeminism that Plant (1997), following Haraway's
(1985) 'manifesto for cyborgs', describes as a revolution on the
part of cybernetic technology and feminists against the rule of
patriarchy. Nonetheless, Virilio has little time for cyberfeminism
or 'cybersex'; notions that he criticises, likening cybersex, for
example, to the technological replacement of the emotions (Armitage,
2000b: 5). For Virilio, it is imperative to reject cybernetic
sexuality, refocus theoretical attention on the human subject, and
resist the domination of both men and women by technology. According
to Virilio, cyberfeminism is merely one more form of technological
fundamentalism -- the religion of all those who believe in the
absolute power of technology (Virilio and Kittler, 1999.) Having
departed from the religious sensibility required in order to
understand the contemporary Gods of ubiquity, instantaneity, and
immediacy of new information and communications technologies,
cyberfeminists, along with numerous other cultural groups, have thus
capitulated to the raptures of cyberspace.
Virilio's newest work, though, is _Strategy of Deception_. Focusing
on the Kosovo War, Virilio argues that while war was a failure both
for Europe and for NATO it was a success for the Unites States (US).
In the world according to Virilio, this is because the US conducted
an 'experiment' on Kosovo using the informational and cybernetic
tools of the Pentagon's much-hyped 'Revolution in Military Affairs'
(RMA). The RMA is thus a revolution that Virilio perceives to be
analogous to his conception of 'the information bomb' and cyberwar as
well as his contention that the present aim of the US is to seek what
its military chiefs term Global Information Dominance (GID).
Clearly, after a career spanning thirty years of writing and
political activity, Virilio's contribution to cultural theory is
considerable. The question is, what is its current significance and
how might we begin to assess it? This question is the subject of the
next two sections.
Notes
-----
[1] This article is a substantially revised version of an earlier
conference paper of the same title presented at the _3rd
International Crossroads in Cultural Studies Conference_, Birmingham
UK.
[2] For a useful and accessible overview of the works of all three
thinkers see Kearney (1986.)
[3] Gestalt psychology originated in Germany at the start of the
twentieth century. Founded by Wertheimer, Kohler and Koffka,
'gestaltists' believe that mental phenomena are extended 'events', or
'gestalts'. For Gestaltists, cognitive processes cannot be
comprehended in terms of their individual components. Instead, for
them, when some new piece of information is acquired, an individual's
entire perceptual field is changed forever. Virilio's own particular
influence is Guillaume (1937.)
[4] Virilio considers the Internet to be a constituent feature of the
'third age of military weaponry' or what he sometimes calls _The
Information Bomb_ (Virilio, 2000a [1998].)
[5] Virilio's _L' ecran du desert: chroniques de guerre_ (1991) is
currently being translated into English as _Desert Screen: War at the
Speed of Light_ by Michael Degener. The Athlone Press will publish
the book in 2001.
____________________________________________________________________
John Armitage is Principal Lecturer in Politics and Media Studies at
the University of Northumbria, UK. The editor of _Paul Virilio: From
Modernism to Hypermodernism and Beyond_ (2000), he is currently
editing _Virilio Live: Selected Interviews_ for publication in 2001.
____________________________________________________________________
* 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: Richard Moffitt
* 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.
____________________________________________________________________
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|