In the age of global capitalism, vaporwave celebrates and undermines the electronic ghosts haunting the nostalgia industry. Ours is a time of ghosts in machines, killing meaning and exposing the gaps inherent in the electronic media that pervade our lives. Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted." Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production. Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.
Shocked by 9/11, the Great Recession, digital anxiety, and ecological collapse, the West suffers from nostalgia. People everywhere yearn for a utopian version of the past that never existed. Desperate for relief, many long to escape from the present. Some will stop at nothing to achieve it. In his essential new book, Grafton Tanner, author of Babbling Corpse: Vaporwave and the Commodification of Ghosts, argues that our nostalgia today is partly a consequence of the attention economy. At a time when historical literacy is crucial, and old prejudices are percolating into the present, Big Tech’s predictive algorithms are locking us into nostalgic feedback loops. The result is a precarious society with its gaze fixed on the good old days. Spanning from the ancient Sophists to Black Mirror, The Circle of the Snake is at once a reckoning with the myth of digital utopia and an incisive analysis of nostalgia as a weapon to spread fascism.
The Hours Have Lost Their Clock charts the rise of nostalgia in an era knocked out of time. In The Hours Have Lost Their Clock, Grafton Tanner charts the rise of nostalgia in an era knocked out of time. Nostalgia is the defining emotion of our age. Political leaders promise a return to yesteryear. Old movies are remade and cancelled series are rebooted. Veterans reenact past wars, while the displaced across the world long for home. But who is behind this collective ache for a home in the past? Do we need to eliminate nostalgia, or just cultivate it better? And what is at stake if we make the wrong choice? Moving from the fight over Confederate monuments to the birth of homeland security to the mourning of species extinction, Grafton Tanner traces nostalgia’s ascent in the twenty-first century, revealing its power as both a consequence of our unstable time and a defense against it. With little faith in a future of climate change and economic anxiety, many have turned to nostalgia to weather the present, while powerful elites exploit it for their own gain. An exploration into the politics of loss and yearning, The Hours Have Lost Their Clock is an urgent call to take nostalgia seriously. The very future depends on it.
S is for Silence is the nineteenth in the Kinsey Millhone mystery series by Sue Grafton. Just after Independence Day in July 1953 Violet Sullivan, a local good time girl living in Serena Station Southern California, drives off in her brand new Chevy and is never seen again. Left behind is her young daughter, Daisy, and Violet's impetuous husband, Foley, who had been persuaded to buy his errant wife the car only days before . . . Now, thirty-five years later, Daisy wants closure. Reluctant to open such an old cold case Kinsey Millhone agrees to spend five days investigating, believing at first that Violet simply moved on to pastures new. But very soon it becomes clear that a lot of people shared a past with Violet, a past that some are still desperate to keep hidden. And in a town as close-knit as Serena there aren't many places to hide when things turn vicious . . .
Shocked by 9/11, the Great Recession, digital anxiety, and ecological collapse, the West suffers from nostalgia. People everywhere yearn for a utopian version of the past that never existed. Desperate for relief, many long to escape from the present. Some will stop at nothing to achieve it. In his essential new book, Grafton Tanner, author of Babbling Corpse: Vaporwave and the Commodification of Ghosts, argues that our nostalgia today is partly a consequence of the attention economy. At a time when historical literacy is crucial, and old prejudices are percolating into the present, Big Tech’s predictive algorithms are locking us into nostalgic feedback loops. The result is a precarious society with its gaze fixed on the good old days. Spanning from the ancient Sophists to Black Mirror, The Circle of the Snake is at once a reckoning with the myth of digital utopia and an incisive analysis of nostalgia as a weapon to spread fascism.
California private investigator Kinsey Millhone is hired to solve a decades-old cold case in this “undeniably entertaining” (Los Angeles Times) #1 New York Times bestseller from Sue Grafton. Cases don't get much colder than that of Violet Sullivan, who disappeared from her rural California town in 1953, leaving behind an abusive husband and a seven-year-old named Daisy. But PI Kinsey Millhone has promised the now adult Daisy she'll try her best to locate Violet, dead or alive. All signs point to a runaway wife—the clothes that disappeared; the secret stash of money Violet bragged about; the brazen flirtations she indulged in with local men, including some married ones. Kinsey tries to pick up a trail by speaking to those who remember Violet—and perhaps were more involved in her life than they let on. But the trail could lead her somewhere very dangerous. Because the case may have gone cold, but some people's feelings about Violet Sullivan still run as hot as ever...
A collection of four novels in the #1 New York Times bestselling Alphabet series starring private investigator Kinsey Millhone. In these chilling mysteries Kinsey Millhone reopens a cold case from 1969, babysits a rebellious heiress, tracks down a missing mother, and takes on a sociopath working as a caregiver. This collection includes: Q is for Quarry, R is for Ricochet, S is for Silence and T is for Trespass
What do cinematic “universes,” cloud archiving, and voice cloning have in common? They’re in the business of foreverizing – the process of revitalizing things that have degraded, failed, or disappeared so that they can remain active in the present. To foreverize something is to reanimate it, to enclose and protect it from time and the elements, and to eradicate the feeling of nostalgia that accompanies loss. Foreverizing is a bulwark against instability, but it isn’t an infallible enterprise. That which is promised to last forever often does not, and that which is disposed of can sometimes last, disturbingly, forever. In this groundbreaking book, American philosopher Grafton Tanner develops his theory of foreverism: an anti-nostalgic discourse that promises growth without change and life without loss. Engaging with pressing issues from the ecological impact of data storage to the rise of reboot culture, Tanner tracks the implications of a society averse to nostalgia and reveals the new weapons we have for eliminating it.
The Hours Have Lost Their Clock charts the rise of nostalgia in an era knocked out of time. In The Hours Have Lost Their Clock, Grafton Tanner charts the rise of nostalgia in an era knocked out of time. Nostalgia is the defining emotion of our age. Political leaders promise a return to yesteryear. Old movies are remade and cancelled series are rebooted. Veterans reenact past wars, while the displaced across the world long for home. But who is behind this collective ache for a home in the past? Do we need to eliminate nostalgia, or just cultivate it better? And what is at stake if we make the wrong choice? Moving from the fight over Confederate monuments to the birth of homeland security to the mourning of species extinction, Grafton Tanner traces nostalgia’s ascent in the twenty-first century, revealing its power as both a consequence of our unstable time and a defense against it. With little faith in a future of climate change and economic anxiety, many have turned to nostalgia to weather the present, while powerful elites exploit it for their own gain. An exploration into the politics of loss and yearning, The Hours Have Lost Their Clock is an urgent call to take nostalgia seriously. The very future depends on it.
The author of The Footnote reflects on scribes, scholars, and the work of publishing during the golden age of the book. From Francis Bacon to Barack Obama, thinkers and political leaders have denounced humanists as obsessively bookish and allergic to labor. In this celebration of bookmaking in all its messy and intricate detail, renowned historian Anthony Grafton invites us to see the scholars of early modern Europe as diligent workers. Meticulously illuminating the physical and mental labors that fostered the golden age of the book—the compiling of notebooks, copying and correction of texts and proofs, preparation of copy—he shows us how the exertions of scholars shaped influential books, treatises, and forgeries. Inky Fingers ranges widely, tracing the transformation of humanistic approaches to texts in the seventeenth and eighteenth centuries and examining the simultaneously sustaining and constraining effects of theological polemics on sixteenth-century scholars. Grafton draws new connections between humanistic traditions and intellectual innovations, textual learning and craft knowledge, manuscript and print. Above all, Grafton makes clear that the nitty-gritty of bookmaking has had a profound impact on the history of ideas—that the life of the mind depends on the work of the hands.
A revelatory new account of the magus—the learned magician—and his place in the intellectual, social, and cultural world of Renaissance Europe. In literary legend, Faustus is the quintessential occult personality of early modern Europe. The historical Faustus, however, was something quite different: a magus—a learned magician fully embedded in the scholarly currents and public life of the Renaissance. And he was hardly the only one. Anthony Grafton argues that the magus in sixteenth-century Europe was a distinctive intellectual type, both different from and indebted to medieval counterparts as well as contemporaries like the engineer, the artist, the Christian humanist, and the religious reformer. Alongside these better-known figures, the magus had a transformative impact on his social world. Magus details the arts and experiences of learned magicians including Marsilio Ficino, Pico della Mirandola, Johannes Trithemius, and Heinrich Cornelius Agrippa. Grafton explores their methods, the knowledge they produced, the services they provided, and the overlapping political and social milieus to which they aspired—often, the circles of kings and princes. During the late fifteenth and early sixteenth centuries, these erudite men anchored debates about licit and illicit magic, the divine and the diabolical, and the nature of “good” and “bad” magicians. Over time, they turned magic into a complex art, which drew on contemporary engineering as well as classical astrology, probed the limits of what was acceptable in a changing society, and promised new ways to explore the self and exploit the cosmos. Resituating the magus in the social, cultural, and intellectual order of Renaissance Europe, Grafton sheds new light on both the recesses of the learned magician’s mind and the many worlds he inhabited.
A follow-up to the popular Graduate Study for the 21st Century , this book seeks to expand professional development to include the personal aspects of daily lives in the humanities. How to Build a Life in the Humanities delves into pressing work-life issues such as post-tenure depression, academic life with children, aging, and adjuncting.
When early Christians began to study the Bible, and to write their own history and that of the Jews whom they claimed to supersede, they used scholarly methods invented by the librarians and literary critics of Hellenistic Alexandria. But Origen and Eusebius, two scholars of late Roman Caesarea, did far more. Both produced new kinds of books, in which parallel columns made possible critical comparisons previously unenvisioned, whether between biblical texts or between national histories. Eusebius went even farther, creating new research tools, new forms of history and polemic, and a new kind of library to support both research and book production. Christianity and the Transformation of the Book combines broad-gauged synthesis and close textual analysis to reconstruct the kinds of books and the ways of organizing scholarly inquiry and collaboration among the Christians of Caesarea, on the coast of Roman Palestine. The book explores the dialectical relationship between intellectual history and the history of the book, even as it expands our understanding of early Christian scholarship. Christianity and the Transformation of the Book attends to the social, religious, intellectual, and institutional contexts within which Origen and Eusebius worked, as well as the details of their scholarly practices--practices that, the authors argue, continued to define major sectors of Christian learning for almost two millennia and are, in many ways, still with us today.,
The legacy of ancient Greece and Rome has been imitated, resisted, misunderstood, and reworked by every culture that followed. In this volume, some five hundred articles by a wide range of scholars investigate the afterlife of this rich heritage in the fields of literature, philosophy, art, architecture, history, politics, religion, and science.
In this engrossing account, footnotes to history give way to footnotes as history, recounting in their subtle way the curious story of the progress of knowledge in written form.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
In the age of global capitalism, vaporwave celebrates and undermines the electronic ghosts haunting the nostalgia industry. Ours is a time of ghosts in machines, killing meaning and exposing the gaps inherent in the electronic media that pervade our lives. Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted." Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production. Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.
Brace yourself for an "Electrifying and thoroughly satisfying" read (Publishers Weekly) from #1 New York Times bestselling author Sue Grafton "M" is for money. Lots of it. "M" is for Malek Construction, the $40 million company that grew out of modest soil to become one of the big three in California construction, one of the few still in family hands. "M" is for the Malek family: four sons now nearing middle age who stand to inherit a fortune--four men with very different outlooks, temperaments, and needs, linked only by blood and money. Eighteen years ago, one of them--angry, troubled, and in trouble--went missing. "M" is for Millhone, hired to trace that missing black sheep brother. "M" is for memories, none of them happy. The bitter memories of an embattled family. This prodigal son will find no welcome at his family's table. "M" is for malice. And in brutal consequence, "M" is for murder, the all-too-common outcome of familial hatreds. "M" is for malice . . . and malice kills. "A" Is for Alibi "B" Is for Burglar "C" Is for Corpse "D" Is for Deadbeat "E" Is for Evidence "F" Is for Fugitive "G" Is for Gumshoe "H" Is for Homicide "I" Is for Innocent "J" Is for Judgment "K" Is for Killer "L" is for Lawless "M" Is for Malice "N" Is for Noose "O" Is for Outlaw "P" Is for Peril "Q" Is for Quarry "R" Is for Ricochet "S" Is for Silence "T" Is for Trespass "U" Is for Undertow "V" Is for Vengeance "W" Is for Wasted "X
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