By Justin Clemens
What can Roger Rabbit let us know in regards to the moment Gulf conflict? What can a lady married to the Berlin Wall let us know approximately posthumanism and inter-subjectivity? What can DJ Shadow let us know concerning the finish of background? What can our neighborhood bus direction let us know in regards to the fortification of the West? What can truth television let us know concerning the obstacle of up to date neighborhood? And what can unauthorized images of Osama Bin encumbered let us know approximately new equipment of well known propaganda? those are just many of the thought-provoking questions raised in fending off the topic, which highlights the feedback-loops among philosophy, expertise, and politics in latest mediascape.
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Extra resources for Avoiding the Subject: Media, Culture and the Object
59 Chapter 3: The Elusive Object 60 Doubtless, once again, a hamster or a dove could serve the same function as the rabbit, but for some mysterious reason the latter is the creature endowed with the greatest symbolic weight. ”, we are actually using this question as a portal to understand the psychosocial subtext of a particular genealogy involving rabbits as ontologically unstable, virtual creatures. Creatures which sometimes help, and at other times hinder, our comprehension of what it means “to be” and/or “to become” in different media-historical contexts.
When we download an MP3 of Metallica’s Master of Puppets, for instance, and proclaim it to be artistic appropriation, how are we to be distinguished from Sherry Levine? Or what if we download the entire Entroducing album and then release it under our own name? ”7 2. The Girl From Ipanema vs. ’ At the consoles of our stereos, armed with our tuners, amplifiers and speakers, we mix, adjust settings, multiply tracks in pursuit of a flawless sound. Is this still music? Where is the high fidelity threshold beyond which music disappears as such?
3. The time period the construction is/was used in. This way I get the object free-standing from the rest. I have always done like this. In an interesting rhetorical move (made explicit by the presence of the quotation marks), Eklöf-Berliner-Mauer uses the object’s genesis, purpose and historical context to isolate it from those very same elements. The “free-standing” object is achieved in order to disrupt the referential continuity of Heidegger’s system, so that it can better be the object of affection.