Book•
The Politics of Postmodernism
01 Jan 1989-
TL;DR: In this article, the postmodernist representation is de-naturalized the natural, Photographic discourse, Telling Stories: fiction and history, Re-presenting the past: 'total history' de-totalized, Knowing the past in the present, The archive as text.
Abstract: General editor's preface. Acknowledgements. 1. Representing the postmodern: What is postmodernism? Representation and its politics, Whose postmodernism? Postmodernity, postmodernism, and modernism. 2. Postmodernist representation: De-naturalizing the natural, Photographic discourse, Telling Stories: fiction and history. 3. Re-presenting the past: 'Total history' de-totalized, Knowing the past in the present, The archive as text. 4. The politics of parody: Parodic postmodern representation, Double-coded politics, Postmodern film? 5. Text/image border tensions: The paradoxes of photography, The ideological arena of photo-graphy, The politics of address 6. Postmodernism and feminisms: Politicizing desire, Feminist postmodernist parody, The private and the public. Concluding note: some directed reading. Bibliography. Index.
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01 Jan 2021
TL;DR: The post-digital fairy tales activity at the Politecnico di Milano as mentioned in this paper explored the practice of crafting and developing interactive narratives that analyze societal twists and shifts due to digitalization by remixing traditional fairy tale narratives with aspects of our post digital era, and showed how IDNs can be used to question digital media usage with regard to patterns of aesthetics and interaction modes.
Abstract: How can Interactive Digital Narratives (IDNs) be employed to reflect on and understand post-digital society and its challenges? To discuss such a complex matter, object of our investigation through the years, we rely on the results of an experimentation that used fairy tales as a starting point for opening up imagination and increasing the distance to everyday life and typical media usage behavior. The activity “Postdigital Fairy Tales” was conducted at Politecnico di Milano, bringing together 45 students in Communication Design for five full days of intensive experimentation. We explored the practice of crafting and developing interactive narratives that analyze societal twists and shifts due to digitalization by remixing traditional fairy tale narratives with aspects of our post-digital era. For this reason we chose to focus on Instagram and to exploit its affordances. The results show how IDNs can be used to question digital media usage with regard to patterns of aesthetics and interaction modes, and to analyse the wicked problems associated with digitalization.
01 Feb 2011
TL;DR: In this article, Lucero et al. define the nuevos terminos acunado by Bourriaud, the altermodernidad and the arte radicante, as una yuxtaposicion del modelo radical modernista and the rizomatico de the postmodernidad dando lugar a la confluencia de un nuevo modo de arte and cultura al-termoderno en donde, en una aparente paradoja, the identidad radica in la movilidad.
Abstract: Nocilla Dream y la literatura radicante: Un arbol en el desierto de la postmodernidad M ARTA DEL P OZO O RTEA N o son pocos los criticos que coinciden en afirmar que el postmodernismo esta en un momento crepuscular y que con la entrada del siglo veintiuno y en concreto, a partir de los atentados terroristas del 11 de septiembre del 2001, nos encontramos ante un nuevo modo de cultura. Raoul Eshelman anuncia la entrada en la epoca del “performatism,” Gary Potter defiende la tesis de un nuevo “realismo critico,” Eric Gans nos habla del “post millenialism” y Michael Hardt y Antonio Negri, en su obra mas reciente, “commonwealth,” defienden la existencia de una “altermodernidad” en el contexto socio-politico actual. El mismo termino es empleado por Bourriaud, critico de arte y curador del Tate Museum de Londres, al llevar la etiqueta de “altermodern” al nombre de la cultura y el arte contemporaneo. El nuevo paradigma presentado por Bourriaud como sintomatico de la nueva era atestigua el nacimiento de un nuevo modo de cultura caracterizado por una nueva y tentativa fluidez espacial e ideologica que resulta en una reconstruccion de la consabida fragmentacion y nihilismo de la identidad del sujeto postmoderno. En un atisbo de union entre las fuerzas de la globalizacion y la singularidad, el nuevo sujeto altermoderno transitaria asi hacia una identidad radicante (termino propuesto por Bourriaud) en donde las practicas de movilidad, hipercomunicacion y globalizacion serian susceptibles de convertirse en garantes de una nueva politica identitaria positiva en un marco de interrelaciones entre los diversos particularismos de indole artistica. Para observar este nuevo paradigma tentativo de superacion de la crisis de la identidad postmoderna en el marco de la literatura y la cultura peninsular aplicaremos la apuesta teorica de Nicolas Bourriaud, el altermodernismo y el arte radicante, a la obra literararia Nocilla Dream (2006) de Agustin Fernandez Mallo. La primera parte de este trabajo busca definir los nuevos terminos acunados por Bourriaud, la altermodernidad y el arte radicante, como una yuxtaposicion del modelo radical modernista y el rizomatico de la postmodernidad dando lugar a la confluencia de un nuevo modo de arte y cultura altermoderno en donde, en una aparente paradoja, la identidad radica en la movilidad. Un breve estudio cronologico e interdisciplinar contribuira al desarrollo de Lucero 20 (2010): 85-100
01 Jan 2016
TL;DR: The Codex Artaud as discussed by the authors is a series of some 33 different scrolls produced from 1971 to 1972 by Spero, one of the foremost political and feminist artists working in the United States today.
Abstract: «intonili Artaud is perhaps best known for his writings on the theatre and his work in the cinema. It is, however, Artaud's work as a surrealist poet,1 and especially his texts from the 1920's which the Cleveland-born artist, Nancy Spero (born 1926), incorporated into the Codex Artaud, a series of some 33 different scrolls produced from 1971 to 1972.2 According to Spero, one of the foremost political and feminist artists working in the United States today, Artaud's writings enabled her to address the problems of an artist in bourgeois society.3 Though Nancy Spero does not explicitly state that her marginalization as an artist was gender related, her artwork and other public statements speak directly to feminist and political issues.4 The Codex Artaud was, in fact, first exhibited in one of the first allfemale, cooperatively run gallery spaces in the country, Artists in Residence
04 Sep 2013
TL;DR: In this paper, the boundaries between the three ontologies where the three authors belong are craftily blurred, only to be re-constructed for the sake of the story, inviting the reader to suspend his/her disbelief and enjoy storytelling.
Abstract: In much contemporary fiction, the questioning of our inherited notions of the subject as an autonomous, unified individual, and reality as the clearly recognisable world in which we live has resulted in many cases in the disappearance of plot in its Aristotelian conception: as the first and most important dramatic element in the novel in this case. However, some contemporary American writers choose to recuperate a realistic mode of storytelling, a realism which is nevertheless postmodernist for its preoccupation with language and its questioning of reality and the subject. This «postmodern realism- would be said to be the mode in which the whole of Eric Kraft's work has been conceived. In «Cali Me Larry-, one of the novellas that make Little Follies (1992), the boundaries between the three ontologies where the three authors belong -the «real» Eric Kraft, and the two fictional authors, Peter Leroy and Roger Drake-, and even the figures of the three authors themselves, are craftily blurred, only to be re-constructed for the sake of the story, inviting the reader to suspend his/her disbelief and enjoy storytelling
Cites background from "The Politics of Postmodernism"
...If the representation of the male subject is controversial, the female subject as portrayed in fiction is shown to be a representation of male desire (Cárter, 1972 & 1994; Hutcheon, 1989)....
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