This article explores the hidden, suppressed elements of New Orleans leading up to and immediately following Hurricane Katrina. The article is juxtaposed with excerpts from Italo Calvino's Invisible Cities in order to provide a lens through which to ask questions not typically raised by government officials, city planners, and science and technology experts. This uncovers aspects of New Orleans that must not be overlooked in the rebuilding process. If policy, culture, and technology render aspects of New Orleans invisible, then only by revealing these aspects can one ascertain the truth of the city.
Erin Moore Daly
mission,” including a race of people to convert. As Sue Zemka has noted, the Arcadian rural idyll of small landholdings and subsistence farms Higgs initially encounters in the southern Alps is a racially and culturally homogeneous simulacrum of England
Casual Virtuality and the Self-Mediation of Laura Paolini's Constraining Aesthetics
Constraining aesthetics are central to Laura Paolini's artistic corpus, involving the relationship of her body to everyday objects in confined spaces during the time of the pandemic. Paolini creates a self-reflexive simulacrum of artistic experience of body, objects, and space through the interface of digital screens. This article seeks to elaborate how the elements of body, objects, and space in performance, video, and installation art are part of a screenic embodiment when read through the concepts of habit (Walter Benjamin), proprioception (Brian Massumi), allegory (Craig Owens), mediation (Fredric Jameson), and documentation (Amelia Jones).
The Ottomans' Leverage with Imperial Studies
This article aims to explore the consequences of including Ottoman studies in the larger field of imperial studies. It strives to combine a close reading of the Ottoman imperial epithets with considerations of how the Ottomans may contribute to theorizing empire as a model. In particular, the article engages in a discussion of whether the "sublime sultanate" developed into a colonial pattern of empire over its final century of existence. As it turns out, the Ottoman practice of administration did not come down to a simulacrum of European colonialism; the article points instead to a semiotics of empire that took its cue from a multidimensional logic of governmentality. Accordingly, archival idiosyncrasies are taken to imply the contrary of an Ottoman exceptionalism. They serve rather to highlight that concepts carry with them a vast repertoire of meanings to be activated in practice.
Hannah Arendt's Early Interpretations of the Holocaust
In his book The Transparency of Evil, Jean Baudrillard claimed that the opportunity to understand something of the Holocaust had been missed – the time had been ripe in the immediate aftermath of the conflagration but no one took up the challenge. Now that the Holocaust, like every other event in our postmodern universe, has become a simulacrum of itself – known only through the various representations of it that circulate in the culture – it is too late ever to get to grips with what it really involved. Today 'there is no longer enough history to back up any historical proof of what happened . . . History should have been understood while history still existed . . . These things were not understood while we still had the means to understand them. Now they never will be.
The Politics of Visual Representation in The Rabbi's Cat
The five episodes of Joann Sfar's The Rabbi's Cat (2002-2006), recently published in English translation in two volumes (2007-2008), and particularly the latest instalment of the series, Africa's Jerusalem, are rich in meta-narrative and meta-iconic elements. By staging various theological arguments about aniconism in Abrahamic religions, Sfar uses the comics medium to reflect on the prohibition of graphic representation in Judaism and Islam (following the Jyllands-Posten Danish cartoons controversy and the trial of the French satirical magazine Charlie-Hebdo ). He also distances his work from the usual Western stance on realistic mimesis and its pseudo-scientific epistemology by criticising the European constructs of race and exoticism. Between the anti-iconic prohibition of the East and the false iconicity of the West, Sfar finds a middle ground in the anonymous character of a Russian painter travelling through Africa in the 1930s, whose physical appearance and biographical background recall that of famous Franco-Russian Jewish painter, Marc Chagall. This article will explore how the painter's cultural hybridity and artistic idiosyncrasy allow Sfar to negotiate a perspective on graphic representation which resolves the problem of simulacrum as it is framed in this binary opposition. It will also discuss the manners in which Sfar borrows from Chagall's aesthetics and magic realism in the process, thus creating a new kind of image in the realm of comics.
Philippe Vasset's Un livre blanc
map's simulacrum and finds himself roaming “the desert of the real” ( Baudrillard 1981 ; Žižek 2002 ). This also contributes to explain how a large part of Vasset's narrative is spent on describing the project's realization and its writing process
Movement, Kinetic Distribution, and Personhood among Siberian Eveny
‘simulacrum’ of the ancestors who are depicted in Malangan art gives those same art objects the agency to be redeployed and reproduced in the future. Each part of the ancestral body charged by its agentive capacity becomes a socially distributed memory image
Eliseu Carbonell, Laurent Sébastien Fournier, Lara Houston, Maarja Kaaristo, Agnieszka Pasieka, and Markéta Slavková
the final evacuation of the Great Blasket Island in 1953, might be considered as a simulacrum. But Máiréad Nic Craith shows that the modern reinterpretations of Tomas's memoir are supported by much deeper considerations. Indeed, the islanders did not
Using Baudrillard to Analyse American Discourse
screen or another, fascinated by the mechanical simulacrum of our own ‘thoughts unfolding before us’ (36). The machine dreams to preserve sleep. In a twitchy-eyed REM sleep of constant video, the subject is reduced to the reflexive contemplation of the