Karen was saying goodbye to her father in Oregon. But living language is not diminished. Then the first tower fell. If it were merely a matterof toler- as an invitation for readersto think of Islam as ance, of open-mindedness,difference would be an intensification of the present ratherthan an secondaryto the logic of representationor iden- archaicholdover. Hugh Tomlinson and Cambridge: But there is no defenceless human at the end of his gaze. Two women on two planes, best of friends, who die together and apart, tower 1 and tower 2.
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Resisting the demand to speak with moral clarity and declare what the event means, his essay instead shows that response is always a ques- tion of response-ability, or the ethical how. DeLillo stylistically config- ures response-ability as always and necessarily a question of how rather Marco Abel received his PhD in English than what; e valuation rather than representation; the power of the false from the Pennsylvania State University rather than the regime of truth.
He is working on a book-length be voiced—represented—by the perceiving subject. Rather, to defer is to sus- be condemned. Bazin advocates a film aesthetic all. In contrast, the neorealist visual timately concerns the limits of perception as a process of abstracting images actualizes from concept. Style is not the ex- the way it is made to be viewed through pression of the human point of view; the human artifice.
For Bazin, sists of myriad modes of seeing. These modes, the event does not contain a truth to be un- or re- or force relations, continually become image covered. Hence, if cinema through dialectical montage. Whereas Eisen- desires to encounter reality, it has no choice but stein assumes an a priori emptiness of the screen to begin from within the acts of seeing. Cinema must aes- the sublime.
Accordingly, the of terror so well as to foreclose response-ability problem with representation is not, as it was for that does not begin and end with what the view- Kant, that it reduces reality that, e. The film offers for not be represented justly but that it allows for a our perception images that do not further our ca- positive entity to exist beyond phenomenal rep- pacity to see the event in a manner different resentation i.
At in representation. Ultimately, however, the film seems to cause when it is merely an effect of a series of reinforce rather than transform, perhaps because forces acting on one another. Producing realism to render visible the phor. Indeed, the essay ality into different impressions of equal value, is overtly preoccupied with the question of how which combine in a speculative series: this hap- to narrate and thus see the event.
Note, for in- pened and this and this and. Men running in suits and graphic novel Maus qtd. It alternates cally affects his readers by not allowing them to between what appears to be a dialectical move- trust any of his narrative voices as qualified to ment of impressionistic close-ups of the event do justice to the event. Ostensibly nonfiction that and distanced, intellectual analyses of what hap- generically requires the writer to tell it as it is pened—but without ever arriving at a resolution or, in any case, not to make up stories , it com- of this movement.
It is our lives tive relay that provokes responses including and minds that are occupied now. We may find called first world, the situation, at least from that the ruin of the towers is implicit in other a United States standpoint, has now crucially things.
The event cannot be reduced to an atmos- our self. The other bypasses us. But paranoia is just another these selves have yet to be produced: plot, and, as DeLillo asserts in what might be And what else is judg- analogy or simile. Section 4 narrates the story of Karen and The box cutters and credit cards.
The paper that Marc, whose first names are the only ones used came streaming out of the towers and drifted in the essay. Sheets of pa- narrative seems a mere close-up, calling our at- per driven into concrete, according to witnesses.
A haecceity names the event because Marc came out to the corridor. It is not The detective told Karen to stay where they made of points, only of lines. I called Marc, who is my nephew, on actualized from within the event and away from his cordless. Why, for exam- ers crashed. Or why does the event: it happens or happened and thus re- the narrator not provide direct discourse i.
If we thought that the narrative, or the There was no one else to be seen now on the multiple mininarratives, meant to represent a street. The mem- faith in the veracity of these accounts. We could not 37; my emphases.
We have to take the ished. So not only does izing force. Or, as Deleuze and Guat- representational terms. In contrast, response be- tari contend, an event is not of history i.
We fore politics, before history and religion, there is might be unable to escape the language of simi- the primal terror. People falling hand in hand les, analogies, and thus meaning. But there is also the pri- aspect of an analogy, however, is not the points to mal force of language. Critical intelligence cannot be equal to this Literature and cinema thus provide rhetori- challenge as long as it confines itself to self- satisfied contemplation.
For debted to something that is not part of the event. At stake is the question of how to de- every basis for comparison, the event asserts its ploy imaging processes in response to events such singularity.
The writer tries to give memory, tender- different from the Holocaust. At least for Adorno, when the effort will succeed. Adorno suggests that position taking, or In response to the horrors of the Holocaust, judgment, is the problem, not the solution— Adorno famously claimed that even if the position is a politically admirable one.
The careless deployment of representa- to write poetry after Auschwitz is barbaric. I am not suggesting that we can step a half from her tipped head. Rather, be- a mosque that indicates the direction of Mecca. If it were merely a matter of toler- as an invitation for readers to think of Islam as ance, of open-mindedness, difference would be an intensification of the present rather than an secondary to the logic of representation or iden- archaic holdover.
Instead of having her practice tity the self-other dialectic : difference exists.
In the ruins of the future
Share via Email In the past decade the surge of capital markets has dominated discourse and shaped global consciousness. Multinational corporations have come to seem more vital and influential than governments. The dramatic climb of the Dow and the speed of the internet summoned us all to live permanently in the future, in the utopian glow of cyber-capital, because there is no memory there and this is where markets are uncontrolled and investment potential has no limit. All this changed on September
Tag: In the Ruins of the Future
Ich konnte mir stundenlang Spiele ausdenken. Wir waren elf in einem kleinen Haus, aber die Enge war nie ein Problem. Ich habe es einfach nicht anders gekannt. Wir sprachen Englisch und Italienisch wild durcheinander. Und ich ging viel ins Kino, schaute Bergman, Antonioni, Godard an. Als ich klein war, in der Bronx, ging ich nicht ins Kino und betrachtete die amerikanischen Filme, die ich sah, nicht als Kunstwerke.