Michael North: Camera Works. Photography and the Twentieth-Century Word (2005)

“Camera Works is about the impact of photography and film on modern art and literature. For many artists and writers, these new media offered hope of new means of representation, neither linguistic nor pictorial, but hovering in a kind of utopian space between. At the same time, the new media introduced a dramatic element of novelty into the age-old evidence of the senses. For the avant-garde, the challenges of the new media were the modern in its most concentrated form, but even for aesthetically unadventurous writers they constituted an element of modern experience that could hardly be ignored.

Camera Works thus traces some of the more utopian projects of transatlantic avant-garde, including the Readie machine of Bob Brown, which was to turn stories and poems into strips of linguistic film. The influence of photography and film on the avant-garde is traced from the early days of Camera Work , through the enthusiasm of Eugene Jolas and the contributors to his magazine transition, to the crisis created by the introduction of sound in the late 1920’s.

Subseguent chapters describe the entirely new kind of sensory enjoyment brought into modern American fiction by the new media. What Fitzgerald calls “spectroscopic gayety,” the enjoyable diorientation of the senses by machine perception, turns out to be a powerful force in much American fiction. The revolutionary possibilities of this new spectatorship and its limitations are pursued through a number of examples, including Dos Passos, James Weldon Johnson, and Hemingway. Together, these chapters offer a new and substantially different account of the relationship between modern American literature and the mediatized society of the early twentieth century.

With a comprehensive introduction and detailed particular readings, Camera Works substantiates a new understanding of the formal and historical bases of modernism. It argues that when modern literature and art respond to modernity, on a formal level, they are responding to the intervention of technology in the transmission of meaning, an intervention that unsettles all the terms in the essential relationship of human consciousness to the world of phenomena.

Publisher Oxford University Press US, 2005
Oxford scholarship online
ISBN 0195173562, 9780195173567
Length 255 pages

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Veit Erlmann (ed.): Hearing Cultures. Essays on Sound, Listening and Modernity (2004)

Vision is typically treated as the defining sense of the modern era and a powerful vehicle for colonial and postcolonial domination. This is in marked contrast to the almost total absence of accounts of hearing in larger cultural processes.

Hearing Cultures is a timely examination of the elusive, often evocative, and sometimes cacophonous auditory sense – from the intersection of sound and modernity, through to the relationship between audio-technological advances and issues of personal and urban space. As cultures and communities grapple with the massive changes wrought by modernization and globalization, Hearing Cultures presents an important new approach to understanding our world. It answers such intriguing questions as:

· Did people in Shakespeare’s time hear differently from us?
· In what way does technology affect our ears?
· Why do people in Egypt increasingly listen to taped religious sermons?
· Why did Enlightenment doctors believe that music was an essential cure?
· What happens acoustically in cross-cultural first encounters?
· Why do Runa Indians in the Amazon basin now consider onomatopoetic speech child’s talk?

The ear, as much as the eye, nose, mouth and hand, offers a way into experience. All five senses are instruments that record, interpret and engage with the world. This book shows how sound offers a refreshing new lens through which to examine culture and complex social issues.

Series: Sensory formations series
Publisher Berg Publishers, 2004
ISBN 1859738281, 9781859738283
Length 239 pages

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Gholam Khiabany: Iranian Media: The Paradox of Modernity (2009)

The post-revolutionary state in Iran has tried to amalgamate “Sharia with electricity” and modernity with what it considers as “Islam”. This process has been anything but smooth and has witnessed intensive forms of political and social contestation. This paper examines key aspects of the contradictions and tensions in the Iranian media market, social stratification and competing forms of “Islamism”/nationalism by looking at the context of production and consumption of the media in Iran. It provides an overview of the expansion of the Iranian communication system. By examining the role of the state in this process and the economic realities of the media in Iran, it challenges the one-dimensional liberal focus on the repressive role of the state and argues against the misguided view that sees a political economy view of the centrality of capital, class and the state to media as irrelevant in the global South. It suggests that the Iranian case also demonstrates a peculiar feature of the Iranian communication industry where liberalization and privatization are the order of the day, but where the state is still reluctant to give up its ideological control over the media. And this is another contradiction (or limit) of an overtly ideological state keen on “development” and “modernization” caught between the web of pragmatism and the imperative of the market, and the straightjacket of “Islamism”.

Publisher    Routledge, 2009
ISBN    0415962897, 9780415962896
Length    258 pages

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Laikwan Pang: The Distorting Mirror: Visual Modernity in China (2007)

The Distorting Mirror analyzes the multiple and complex ways in which urban Chinese subjects saw themselves interacting with the new visual culture that emerged during the turbulent period between the 1880s and the 1930s. The media and visual forms examined include lithography, photography, advertising, film, and theatrical performances. Urbanites actively engaged with and enjoyed this visual culture, which was largely driven by the subjective desire for the empty promises of modernity—promises comprised of such abstract and fleeting concepts as new, exciting, and fashionable.

Detailing and analyzing the trajectories of development of various visual representations, Laikwan Pang emphasizes their interactions. In doing so, she demonstrates that visual modernity was not only a combination of independent cultural phenomena, but also a partially coherent sociocultural discourse whose influences were seen in different and collective parts of the culture. The work begins with an overall historical account and theorization of a new lithographic pictorial culture developing at the end of the nineteenth century and an examination of modernity’s obsession with the investigation of the real. Subsequent chapters treat the fascination with the image of the female body in the new visual culture; entertainment venues in which this culture unfolded and was performed; how urbanites came to terms with and interacted with the new reality; and the production and reception of images, the dynamics between these two being a theme explored throughout the book.

Modernity, as the author shows, can be seen as spectacle. At the same time, she demonstrates that, although the excessiveness of this spectacle captivated the modern subject, it did not completely overwhelm or immobilize those who engaged with it. After all, she argues, they participated in and performed with this ephemeral visual culture in an attempt to come to terms with their own new, modern self.

Publisher University of Hawaii Press, 2007
ISBN 0824830938, 9780824830939
Length 280 pages

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Andrew Benjamin, Charles Rice (eds.): Walter Benjamin and the Architecture of Modernity (2009)

Walter Benjamin is universally recognized as one of the key thinkers of modernity: his writings on politics, language, literature, media, theology and law have had an incalculable influence on contemporary thought. Yet the problem of architecture in and for Benjamin’s work remains relatively underexamined. Does Benjamin’s project have an architecture and, if so, how does this architecture affect the explicit propositions that he offers us? In what ways are Benjamin’s writings centrally caught up with architectural concerns, from the redevelopment of major urban centres to the movements that individuals can make within the new spaces of modern cities? How can Benjamin’s theses help us to understand the secret architectures of the present? This volume takes up the architectural challenge in a number of innovative ways, collecting essays by both well-known and emerging scholars on time in cinema, the problem of kitsch, the design of graves and tombs, the orders of road-signs, childhood experience in modern cities, and much more. Engaged, interdisciplinary, bristling with insights, the essays in this collection will constitute an indispensable supplement to the work of Walter Benjamin, as well as providing a guide to some of the obscurities of our own present.

Publisher: re.press, Melbourne
ISBN-13: 978-0-9805440-2-2
ISBN-ebook: 978-0-9805440-2-2
Publication date: July 2009
Pages: 224
Format: 234×156 mm (6×9 in) Paperback
Series: Anamnesis

This work is ‘Open Access’, published under a Creative Commons license.

http://creativecommons.org/licenses/by-nc-nd/2.5/

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Eduardo Mendieta: Global Fragments: Globalizations, Latinamericanisms, and Critical Theory (2007)

Global Fragments offers an innovative analysis of globalization that aims to circumvent the sterile dichotomies that either praise or demonize globalization. Eduardo Mendieta applies an interdisciplinary approach to one of the most fundamental experiences of globalization: the mega-urbanization of humanity. The claim that globalization unsettles our epistemic maps of the world is tested against a study of Latin America. Mendieta also recontextualizes the work of three major theorists of globalization—Enrique Dussel, Cornel West, and Jürgen Habermas—to show how their thinking reflects engagement with central problems of globalization and, conversely, how globalization itself is exemplified through the reception of their work. Beyond the epistemic hubris of social theories that seek to accept or reject a globalized world, Mendieta calls for a dialogic cosmopolitanism that departs from the mutuality of teaching and learning in a world that is global but not totalized.

Publisher SUNY Press, 2007
ISBN 0791472574, 9780791472576
Length 226 pages

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David Harvey: Paris, Capital of Modernity (2003)

Collecting David Harvey’s finest work on Paris during the second empire, Paris, Capital of Modernity offers brilliant insights ranging from the birth of consumerist spectacle on the Parisian boulevards, the creative visions of Balzac, Baudelaire and Zola, and the reactionary cultural politics of the bombastic Sacre Couer. The book is heavily illustrated and includes a number drawings, portraits and cartoons by Daumier, one of the greatest political caricaturists of the nineteenth century.

Publisher Routledge, 2003
ISBN 041594421X, 9780415944212
Length 372 pages

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Nadia Michoustina (ed.): Art, Technology and Modernity in Russia and Eastern Europe (2000)

Contents:
* Nadia Michoustina, Introduction
* Cynthia Simmons, Fly Me to the Moon: Modernism and the Soviet Space Program in Viktor Pelevin’s Omon Ra
* Julia Vaingurt, Base Superstructures and Technical Difficulties in Maiakovskii’s America
* Andrei Khrenov, Power and Technology as the Political-Aesthetic Project: Towards the Similarity of the Russian Avant-garde of the Twenties and Stalinist Cinema
* Kimberly Elman, Garden Cities and Company Towns: Tomas Baťa and the Formation of Zlin, Czechoslovakia

Selected Papers from the Conference held at Columbia University on March 31-April 1, 2000
The Harriman Review, Vol. 12, No. 4, November 2000
35 pages

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Bruno Latour: We Have Never Been Modern (1993)

With the rise of science, we moderns believe, the world changed irrevocably, separating us forever from our primitive, premodern ancestors. But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith.

What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming–and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture–and so, between our culture and others, past and present.

Nothing short of a reworking of our mental landscape. We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.

Translated by Catherine Porter
Publisher Harvard University Press, 1993
ISBN 0674948386, 9780674948389
Length 157 pages

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