Blogs

by Alec Hanley Bemis | 10.27.2010
Below is a YouTube blip by Tyler, the Creator, the one member of LA hip-hop posse Odd Future who is most hotly tipped to go all the way. And, well, now that LA Weekly has finally gotten around to it, I should probably publish my post about them too.
by Lee Konstantinou | 10.25.2010
In the spirit of continuing the conversation we have been having on Arcade about Stanley Fish, the recent axing of French, Italian, classics, Russian, and theatre at SUNY Albany, and the future of the humanities, I'd like to present this video (h/t Mark Vega).
by William Flesch | 10.25.2010
At the end of a work of fiction, the ideal reader knows as much as the author. How could it be otherwise? There is nothing else to know. This means that the end of the work is the end of omniscience.
by Timothy Morton | 10.25.2010
I've been doing some thinking about my “hyperobjects” for my upcoming talk at Loyola, and I realized that hyperobjects are viscous. What do I mean?
by Timothy Morton | 10.24.2010
I did a talk on what I call hyperobjects at CalArts at the beginning of this month. Next week I'm in New Orleans at Loyola University doing the 2.0 version. 1.0 was about plutonium. This one will be about oil.
by Claire Seiler | 10.24.2010
Nauman walks the walk. Slow Angle Walk (Beckett Walk) (1968) does the work of envisioning Watt’s “way of advancing” for you.  I have cast Beckett’s description of Watt’s walk as creating a series of imperatives for the reader: you have to envision Watt’s “way of advancing,” then you have to edit that vision to account for unbending knees and feet, then again for position of head and arms. But really, it’s your prerogative (cue Bobby Brown).
by Alec Hanley Bemis | 10.23.2010
It used to be easy to understand the difference between Pop Music and Art Music. Pop Music was awesome (but kind of slight) and Art Music was awesome (but kind of tedious).
by Gregory Jusdanis | 10.21.2010
The glaze in their eyes gives it away, the slight tightening of their lips, and the nervous breath. When colleagues learn about my new project, they begin to feel sorry for me. “Why friendship of all subjects?” It’s seems quaint to them or just light; in any case, not a legitimate object of inquiry.

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