their literary landscape. * He expressed concern about how these new forms of information technology encroach upon the silence and intimacy necessary for human reflection and, by implication, for the production of literature. 1 Modiano’s comments were
Social Media from Modiano to Zola and Proust
The Jet-Age Airport and the Spectacle of Technology between Sky and Earth
Vanessa R. Schwartz
This article examines the second most visited site in Paris during the 1960s, behind only the Eiffel Tower, which stood outside the city's walls in Orly. The airport there, re-built in 1961 to welcome the new era of high-speed air travel in the form of jet service, featured a prominent “terrasse” where visitors paid admission to watch the jets come and go. This article examines the jet-age renovation of the airport and the wild popularity of visits there in order to consider the role of visual spectacle in advancing the culture of technological optimism of 1960s France.
Amateur Radio and the Politics of Aural Surveillance in France, 1921-1940
Derek W. Vaillant
As France wrestles over the uses and societal impact of digital media and the Internet, it is instructive to recall another era of communications innovation, namely the introduction of interwar radio to the French public, and the government's reaction to controversial applications by the citizenry. Recent scholarship has underscored the importance of interwar radio broadcasting to France and its territories. Less explored, however, is the work of amateur user/developers who shaped the radio medium as an instrument of speaking, as well as listening. Determined to manage applications of radio, the French Interior Ministry formed a Police de l'Air to monitor France's airwaves, including the activities of amateur radio users (i.e., hams), whose lawful (and sometimes unlawful) use of point-to-point and broadcast communication had begun to significantly disrupt the government's effort to dictate the future forms and uses of radio. Against a backdrop of political crisis and attempts to manage print and electronic communication and dissent, the skirmishes between the Police de l'Air and amateur radio users reveal historical aspects of contemporary debates over use, access, and qualifications to speak and be heard in mediated cultural and political settings.
At the beginning of the twentieth century, due to the spread of helmet diving beyond engineering communities, people started to attend to the remarkable qualities of underwater optics, differing radically from seeing through air. With the revelation of this unfamiliar planetary environment to a broader public, creators across the arts took inspiration from underwater optics to structure fantasy spaces of dream, hallucination, and marvel. To show the properties of underwater optics inspiring these fantasy spaces, this article analyzes undersea paintings by Walter “Zarh” Pritchard, reputedly the first artist to have painted en pleine mer. It then turns to aquatically-inspired works of surrealism, the movement offering the most famous appropriation of underwater optics for the arts, focusing notably on André Breton's L'Amour fou and Jean Vigo's L'Atalante.
is based on this power to master and optimize mere matter. Mathematics, mechanics, electromagnetics, and nuclear physics put things into service for us. This is the rule of the enframing attitude of technology. It is also nihilistic, according to
Chandra Mukerji, Impossible Engineering: Technology and Territoriality on the Canal du Midi (Princeton, NJ: Princeton University Press, 2009).
Sara Pritchard, Confluence: The Nature of Technology and the Remaking of the Rhône (Cambridge, MA: Harvard University Press, 2011).
Racing towards Eurafrica?
roadways a less imperative, or even unnecessary, means of exerting imperial might. New technologies, particularly improved air travel, erased the necessity of direct access to African territory that was at the heart of the rally's ideology. Second, the
French and Algerian Ports and the Birth of the Wine Tanker
of Midi wine producers to Sète’s role in the importation of Algerian wine would continue well after Algeria became independent. 88 Stories of resistance to new technology rarely look heroic in hindsight. In Rouen, the protests of dockworkers against
Laura Downs, Stéphane Tonnelat, and Joan Scott
Laura Downs Simone Weil by Francine du Plessix Gray
Stéphane Tonnelat The Glass State, The Technology of the Spectacle, Paris, 1981-1998 by Annette Fierro
Joan Scott Fausse Route by Elisabeth Badinter
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