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Weiye Loh

The Death of Postmodernism And Beyond | Philosophy Now - 0 views

www.philosophynow.org/...th_of_Postmodernism_And_Beyond

Postmodernism Foucault Philosophy Modernism Spectacle Reality Reality TV

shared by Weiye Loh on 28 Apr 12 - No Cached
  • Most of the undergraduates who will take ‘Postmodern Fictions’ this year will have been born in 1985 or after, and all but one of the module’s primary texts were written before their lifetime. Far from being ‘contemporary’, these texts were published in another world, before the students were born: The French Lieutenant’s Woman, Nights at the Circus, If on a Winter’s Night a Traveller, Do Androids Dream of Electric Sheep? (and Blade Runner), White Noise: this is Mum and Dad’s culture. Some of the texts (‘The Library of Babel’) were written even before their parents were born. Replace this cache with other postmodern stalwarts – Beloved, Flaubert’s Parrot, Waterland, The Crying of Lot 49, Pale Fire, Slaughterhouse 5, Lanark, Neuromancer, anything by B.S. Johnson – and the same applies. It’s all about as contemporary as The Smiths, as hip as shoulder pads, as happening as Betamax video recorders. These are texts which are just coming to grips with the existence of rock music and television; they mostly do not dream even of the possibility of the technology and communications media – mobile phones, email, the internet, computers in every house powerful enough to put a man on the moon – which today’s undergraduates take for granted.
  • somewhere in the late 1990s or early 2000s, the emergence of new technologies re-structured, violently and forever, the nature of the author, the reader and the text, and the relationships between them.
  • Postmodernism, like modernism and romanticism before it, fetishised [ie placed supreme importance on] the author, even when the author chose to indict or pretended to abolish him or herself. But the culture we have now fetishises the recipient of the text to the degree that they become a partial or whole author of it. Optimists may see this as the democratisation of culture; pessimists will point to the excruciating banality and vacuity of the cultural products thereby generated (at least so far).
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  • Pseudo-modernism also encompasses contemporary news programmes, whose content increasingly consists of emails or text messages sent in commenting on the news items. The terminology of ‘interactivity’ is equally inappropriate here, since there is no exchange: instead, the viewer or listener enters – writes a segment of the programme – then departs, returning to a passive role. Pseudo-modernism also includes computer games, which similarly place the individual in a context where they invent the cultural content, within pre-delineated limits. The content of each individual act of playing the game varies according to the particular player.
  • The pseudo-modern cultural phenomenon par excellence is the internet. Its central act is that of the individual clicking on his/her mouse to move through pages in a way which cannot be duplicated, inventing a pathway through cultural products which has never existed before and never will again. This is a far more intense engagement with the cultural process than anything literature can offer, and gives the undeniable sense (or illusion) of the individual controlling, managing, running, making up his/her involvement with the cultural product. Internet pages are not ‘authored’ in the sense that anyone knows who wrote them, or cares. The majority either require the individual to make them work, like Streetmap or Route Planner, or permit him/her to add to them, like Wikipedia, or through feedback on, for instance, media websites. In all cases, it is intrinsic to the internet that you can easily make up pages yourself (eg blogs).
  • Where once special effects were supposed to make the impossible appear credible, CGI frequently [inadvertently] works to make the possible look artificial, as in much of Lord of the Rings or Gladiator. Battles involving thousands of individuals have really happened; pseudo-modern cinema makes them look as if they have only ever happened in cyberspace.
  • Similarly, television in the pseudo-modern age favours not only reality TV (yet another unapt term), but also shopping channels, and quizzes in which the viewer calls to guess the answer to riddles in the hope of winning money.
  • The purely ‘spectacular’ function of television, as with all the arts, has become a marginal one: what is central now is the busy, active, forging work of the individual who would once have been called its recipient. In all of this, the ‘viewer’ feels powerful and is indeed necessary; the ‘author’ as traditionally understood is either relegated to the status of the one who sets the parameters within which others operate, or becomes simply irrelevant, unknown, sidelined; and the ‘text’ is characterised both by its hyper-ephemerality and by its instability. It is made up by the ‘viewer’, if not in its content then in its sequence – you wouldn’t read Middlemarch by going from page 118 to 316 to 401 to 501, but you might well, and justifiably, read Ceefax that way.
  • A pseudo-modern text lasts an exceptionally brief time. Unlike, say, Fawlty Towers, reality TV programmes cannot be repeated in their original form, since the phone-ins cannot be reproduced, and without the possibility of phoning-in they become a different and far less attractive entity.
  • If scholars give the date they referenced an internet page, it is because the pages disappear or get radically re-cast so quickly. Text messages and emails are extremely difficult to keep in their original form; printing out emails does convert them into something more stable, like a letter, but only by destroying their essential, electronic state.
  • The cultural products of pseudo-modernism are also exceptionally banal
  • Much text messaging and emailing is vapid in comparison with what people of all educational levels used to put into letters.
  • A triteness, a shallowness dominates all.
  • In music, the pseudo-modern supersedingof the artist-dominated album as monolithic text by the downloading and mix-and-matching of individual tracks on to an iPod, selected by the listener, was certainly prefigured by the music fan’s creation of compilation tapes a generation ago. But a shift has occurred, in that what was a marginal pastime of the fan has become the dominant and definitive way of consuming music, rendering the idea of the album as a coherent work of art, a body of integrated meaning, obsolete.
  • To a degree, pseudo-modernism is no more than a technologically motivated shift to the cultural centre of something which has always existed (similarly, metafiction has always existed, but was never so fetishised as it was by postmodernism). Television has always used audience participation, just as theatre and other performing arts did before it; but as an option, not as a necessity: pseudo-modern TV programmes have participation built into them.
  • Whereas postmodernism called ‘reality’ into question, pseudo-modernism defines the real implicitly as myself, now, ‘interacting’ with its texts. Thus, pseudo-modernism suggests that whatever it does or makes is what is reality, and a pseudo-modern text may flourish the apparently real in an uncomplicated form: the docu-soap with its hand-held cameras (which, by displaying individuals aware of being regarded, give the viewer the illusion of participation); The Office and The Blair Witch Project, interactive pornography and reality TV; the essayistic cinema of Michael Moore or Morgan Spurlock.
  • whereas postmodernism favoured the ironic, the knowing and the playful, with their allusions to knowledge, history and ambivalence, pseudo-modernism’s typical intellectual states are ignorance, fanaticism and anxiety
  • pseudo-modernism lashes fantastically sophisticated technology to the pursuit of medieval barbarism – as in the uploading of videos of beheadings onto the internet, or the use of mobile phones to film torture in prisons. Beyond this, the destiny of everyone else is to suffer the anxiety of getting hit in the cross-fire. But this fatalistic anxiety extends far beyond geopolitics, into every aspect of contemporary life; from a general fear of social breakdown and identity loss, to a deep unease about diet and health; from anguish about the destructiveness of climate change, to the effects of a new personal ineptitude and helplessness, which yield TV programmes about how to clean your house, bring up your children or remain solvent.
  • Pseudo-modernism belongs to a world pervaded by the encounter between a religiously fanatical segment of the United States, a largely secular but definitionally hyper-religious Israel, and a fanatical sub-section of Muslims scattered across the planet: pseudo-modernism was not born on 11 September 2001, but postmodernism was interred in its rubble.
  • pseudo-modernist communicates constantly with the other side of the planet, yet needs to be told to eat vegetables to be healthy, a fact self-evident in the Bronze Age. He or she can direct the course of national television programmes, but does not know how to make him or herself something to eat – a characteristic fusion of the childish and the advanced, the powerful and the helpless. For varying reasons, these are people incapable of the “disbelief of Grand Narratives” which Lyotard argued typified postmodernists
  • Weiye Loh on 28 Apr 12
     
    Postmodern philosophy emphasises the elusiveness of meaning and knowledge. This is often expressed in postmodern art as a concern with representation and an ironic self-awareness. And the argument that postmodernism is over has already been made philosophically. There are people who have essentially asserted that for a while we believed in postmodern ideas, but not any more, and from now on we're going to believe in critical realism. The weakness in this analysis is that it centres on the academy, on the practices and suppositions of philosophers who may or may not be shifting ground or about to shift - and many academics will simply decide that, finally, they prefer to stay with Foucault [arch postmodernist] than go over to anything else. However, a far more compelling case can be made that postmodernism is dead by looking outside the academy at current cultural production.
Jude John

What's so Original in Academic Research? - 26 views

Thanks for your comments. I may have appeared to be contradictory, but what I really meant was that ownership of IP should not be a motivating factor to innovate. I realise that in our capitalistic...

started by Weiye Loh on 21 Aug 09 4 follow-ups, last by Jude John on 25 Aug 09
Weiye Loh

homunculus: I can see clearly now - 0 views

philipball.blogspot.com/...i-can-see-clearly-now.html

Instrument Microscope Science Latour History Images Representation

shared by Weiye Loh on 06 Mar 11 - No Cached
  • Here’s a little piece I wrote for Nature news. To truly appreciate this stuff you need to take a look at the slideshow. There will be a great deal more on early microscopy in my next book, probably called Curiosity and scheduled for next year.
  • The first microscopes were a lot better than they are given credit for. That’s the claim of microscopist Brian Ford, based at Cambridge University and a specialist in the history and development of these instruments.
  • Ford says it is often suggested that the microscopes used by the earliest pioneers in the seventeenth century, such as Robert Hooke and Antony van Leeuwenhoek, gave only very blurred images of structures such as cells and micro-organisms. Hooke was the first to record cells, seen in thin slices of cork, while Leeuwenhoek described tiny ‘animalcules’, invisible to the naked eye, in rain water in 1676. The implication is that these breakthroughs in microscopic biology involved more than a little guesswork and invention. But Ford has looked again at the capabilities of some of Leeuwenhoek’s microscopes, and says ‘the results were breathtaking’. ‘The images were comparable with those you would obtain from a modern light microscope’, he adds in an account of his experiments in Microscopy and Analysis [1].
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  • The poor impression of the seventeenth-century instruments, says Ford, is due to bad technique in modern reconstructions. In contrast to the hazy images shown in some museums and television documentaries, careful attention to such factors as lighting can produce micrographs of startling clarity using original microscopes or modern replicas.
  • Ford was able to make some of these improvements when he was granted access to one of Leeuwenhoek’s original microscopes owned by the Utrecht University Museum in the Netherlands. Leeuwenhoek made his own instruments, which had only a single lens made from a tiny bead of glass mounted in a metal frame. These simple microscopes were harder to make and to use than the more familiar two-lens compound microscope, but offered greater resolution.
  • Hooke popularized microscopy in his 1665 masterpiece Micrographia, which included stunning engravings of fleas, mites and the compound eyes of flies. The diarist Samuel Pepys judged it ‘the most ingenious book that I ever read in my life’. Ford’s findings show that Hooke was not, as some have imagined, embellishing his drawings from imagination, but should genuinely have been able to see such things as the tiny hairs on the flea’s legs.
  • Even Hooke was temporarily foxed, however, when he was given the duty of reproducing the results described by Leeuwenhoek, a linen merchant of Delft, in a letter to the Royal Society. It took him over a year before he could see these animalcules, whereupon he wrote that ‘I was very much surprised at this so wonderful a spectacle, having never seen any living creature comparable to these for smallness.’ ‘The abilities of those pioneer microscopists were so much greater than has been recognized’ says Ford. He attributes this misconception to the fact that ‘no longer is microscopy properly taught.’
  • Reference1. Ford, B. J. Microsc. Anal. March 2011 (in press).
  • Weiye Loh on 06 Mar 11
     
    The first microscopes were a lot better than they are given credit for.
Weiye Loh

Roger Pielke Jr.'s Blog: IPCC and Conflicts of Interest - 0 views

rogerpielkejr.blogspot.com/...and-conflicts-of-interest.html

Climate Science Interest Conflict IPCC

shared by Weiye Loh on 15 Mar 11 - No Cached
  • Last year the InterAcademy Council recommended that The IPCC should develop and adopt a rigorous conflict of interest policy that applies to all individuals directly involved in the preparation of IPCC reports
  •   Now we get treated to sights like the following: . . . Steve Sawyer, who contributed a chapter to an upcoming Intergovernmental Panel on Climate Change (IPCC) special report on managing climate disasters, which will be published in May. . . According to Sawyer, the forthcoming IPCC report will reveal that carbon emissions from nuclear power facilities clock up between 100 and 200 grams of carbon emissions per kilowatt hour (kWh). 'Clean' gas emits around 350 grams of carbon per kilowatt hour.    But wind turbines emit no carbon when producing electricity. One life-cycle assessment of the Vestas V90-3.0MW onshore turbine – which includes the manufacture of components – found that even here, only 4.64 grams of CO2 per kWh were created. "Nuclear power is generally the most expensive, complicated and dangerous means ever devised by human beings to boil water," Sawyer said, summing up the anti-nuclear argument. "Why anyone would want to use it to generate electricity is beyond me, unless they were interested - as most European states were in the early days of nuclear history - in what comes out the other end, which is fissionable material for nuclear weapons," he added.Who is this IPCC author Steve Sawyer you might wonder?  He is the Secretary General of the Global Wind Energy Council, an advocacy group for wind energy with a strong anti-nuclear stance, as Sawyer's comments indicate. He also spent 30 years as a top official for Greenpeace.
  • the spectacle of an IPCC author with a clear conflict of interest writing part of the report and then using that same report in his political advocacy just does not look good. If the IPCC were recommending drug safety standards and an author happened to be a top official at a company benefitting from the recommendations, the issues here would be obvious and unacceptable. The IPCC however plays by different rules.
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  • UPDATE: I AM INFORMED THAT THE MATERIAL REPORTED BY EURACTIV AND REPRODUCED BELOW IS COMPREHENSIVELY WRONG.  APPARENTLY MR. SAWYER IS NOT A CONTRIBUTOR TO THE IPCC AND THE REPORT DOES NOT DISCUSS NUCLEAR POWER.  I HAVE UPDATED THIS POST ACCORDINGLY. THE EURACTIV NEWS STORY POSTED UP YESTERDAY REMAINS IN ERROR.
Weiye Loh

Japan's devastation goes viral - Japan Earthquake - Salon.com - 0 views

www.salon.com/..._earthquake_tsunami_goes_viral

Media Saturation Disaster Desensitization

shared by Weiye Loh on 13 Apr 11 - No Cached
  • Why is there such an appetite for such terrible images? There is, after all, very little satisfaction to be gained in watching a wall of water cut a swath across the coastland.
  • There may be a fair portion of the population that can't separate a truly ruinous tragedy from the kind of explosive spectacle you'd normally pay $11 a ticket for
  • but as videos of the frantic shock of the earthquake continue to roll in to YouTube, it's clear that horror and horrible entertainment value don't stand in tidy opposition to each other. There's too much that's real and human suddenly at stake.
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  • "I demand slow motion footage of this atrocity," it's not just gruesome curiosity, or an unempathetic OMG factor, at work here. There is something profoundly humbling about seeing how fragile we truly are, how swiftly and easily everything can be wiped out. The footage from Japan is indeed spectacular. It's also a wrenching memento mori, a reminder of our mortality. Because with each breath we take, all of us are just little boats in the whirlpool, hoping to hang on through the storm. 
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