I promised I would shoot myself when I got to the age where I needed reading glasses, but maybe after this talk, you will wish that I had. This is the moment where you find out of all my dirty laundry. Can we have the lights lower? Thanks, David. HAL FOSTER: Let's see if we can get an image, I hope, somewhere. The Gorgon's Head of a Boundless Terror Smiles out of the Fantastic Destruction- and here's a semicolon- Modern Art and the Mimetic Process. Among the phenomena explored here are "machine vision" (images produced by machines for other machines without a human interface),"operational images" (images that do not represent the world so much as intervene in it), and the algorithmic scripting of information so pervasive in our everyday lives.SPEAKER 1: This is a production of Cornell University.ĭAVID: Now let me just give the title of the lecture. Finally, a third section surveys transformations in media as reflected in recent art, film, and fiction. A second group reviews the neoliberal makeover of art institutions during the same period. A first section focuses on the cultural politics of emergency since 9/11, including the use and abuse of trauma, paranoia, and kitsch.
Surveying the artistic and cultural scene in the era of Trump If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the Left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And, in any event, why add outrage to a media economy that thrives on the same? What Comes After Farce? comments on shifts in art, criticism, and fiction in the face of the current regime of war, surveillance, extreme inequality, and media disruption.
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