Category Archives: Stuart Hall
Robot Poetry: Representation & Technological Poetics
W.J.T. Mitchell, in his gloss of the notion of “representation,” addresses Aristotle’s Poetics, commenting particularly on Aristotle’s criteria for distinguishing representations from one another — but he changes Aristotle’s language slightly. Where Aristotle speaks of the object, the manner, and the
Robot Poetry: Representation & Technological Poetics
W.J.T. Mitchell, in his gloss of the notion of “representation,” addresses Aristotle’s Poetics, commenting particularly on Aristotle’s criteria for distinguishing representations from one another — but he changes Aristotle’s language slightly. Where Aristotle speaks of the object, the manner, and the
the giving-voice-to
Among these readings I was impressed with Hall’s considerations of identity “as a ‘production’ which is never complete, always in process, and always constituted within, not outside, representation.” (Hall 234). By highlighting the multiple ways in which difference matters (both
the giving-voice-to
Among these readings I was impressed with Hall’s considerations of identity “as a ‘production’ which is never complete, always in process, and always constituted within, not outside, representation.” (Hall 234). By highlighting the multiple ways in which difference matters (both
Representation and Cultural Identity
In his essay on Representation, WJT Mitchell describes the structure of both political and semiotic representation as a triangle: “representation is always of something or someone, by something or someone, to someone.” (12) Although this may sound straight forward, the
Representation and Cultural Identity
In his essay on Representation, WJT Mitchell describes the structure of both political and semiotic representation as a triangle: “representation is always of something or someone, by something or someone, to someone.” (12) Although this may sound straight forward, the
The Limitations (?) of Geography
Though Derek Walcott’s essay is the only one to explicitly (deeply, intimately, affectively) confront the “Caribbean” — Stuart Hall addresses it in passing several times as part of his larger critical-theoretical overview, and Nicholas Negroponte takes as his subject the
The Limitations (?) of Geography
Though Derek Walcott’s essay is the only one to explicitly (deeply, intimately, affectively) confront the “Caribbean” — Stuart Hall addresses it in passing several times as part of his larger critical-theoretical overview, and Nicholas Negroponte takes as his subject the
What’s so Wrong With “An Age of Optimism” in “societies structured in dominance” Anyway?
Written 20 years ago at the nascent start of what would become the digital era, readings from Nicholas Negroponte’s Being Digital (Chapter 13 and Epilogue) strike me as simultaneously prescient for its understanding of the ways technology would change
What’s so Wrong With “An Age of Optimism” in “societies structured in dominance” Anyway?
Written 20 years ago at the nascent start of what would become the digital era, readings from Nicholas Negroponte’s Being Digital (Chapter 13 and Epilogue) strike me as simultaneously prescient for its understanding of the ways technology would change
Shipwreck of Fragments: Reading roundup
In his essay “The Post-Information Age,” Negrponte suggests that traditional (and historical) modes of capitalist production and consumption are no longer feasible (or profitable) in the digital age. Breaking what he calls “space and time,” the post-information age is indicated
Shipwreck of Fragments: Reading roundup
In his essay “The Post-Information Age,” Negrponte suggests that traditional (and historical) modes of capitalist production and consumption are no longer feasible (or profitable) in the digital age. Breaking what he calls “space and time,” the post-information age is indicated
“Creature” in the Attic
(Creature, 2013 Varun Baker Photography) In the article “Cultural Identity” and Diaspora, Hall offers two reflections on the cultural identity of Caribbean’s, Firstly, he discusses identity as a collective shared history, fixed and stable, this identity is communal and linked
“Creature” in the Attic
(Creature, 2013 Varun Baker Photography) In the article “Cultural Identity” and Diaspora, Hall offers two reflections on the cultural identity of Caribbean’s, Firstly, he discusses identity as a collective shared history, fixed and stable, this identity is communal and linked
“Third Cinema” in Pigments
(Franz Masereel’s woodcut for the first edition of Pigments #1953514; Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library) In the article “Cultural Identity” and Diaspora, Stuart Hall discusses what he calls be
“Third Cinema” in Pigments
(Franz Masereel’s woodcut for the first edition of Pigments #1953514; Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library) In the article “Cultural Identity” and Diaspora, Stuart Hall discusses what he calls be
Ceci n’est pas des gens.
As complex as people and the world and the universe are, on almost every level, there always seems to be this pressure for things to be definitive. We want something static, something stable and immutable that we can pin
Ceci n’est pas des gens.
As complex as people and the world and the universe are, on almost every level, there always seems to be this pressure for things to be definitive. We want something static, something stable and immutable that we can pin
Taking a Hammer to “Cultural Identity”
Stuart Hall, in his essay on “Cultural Identity and Diaspora”, gives the term “cultural identity” a two pronged definition saying first, that it can be defined “in terms of one, shared culture, a sort of collective ‘one true self’ …
Taking a Hammer to “Cultural Identity”
Stuart Hall, in his essay on “Cultural Identity and Diaspora”, gives the term “cultural identity” a two pronged definition saying first, that it can be defined “in terms of one, shared culture, a sort of collective ‘one true self’ …
