The Antinomies of Realism

[malignd at aol.com]

You or he need to explain then why people who saw the event only as televisual spectacle got in their cars, drove to Manhattan and stayed for months as volunteers doing the most difficult sort of work under the most trying of circumstances.

Their         electronic experience simultaneously actualised and hyperrealised the         real, and de-actualised and deterred it, in its semiotic transformation and         presentation as televisual spectacle for domestic consumption in the         comfort and security of the sign.




-----Original Message-----
From: alice malice <alicewmalice at gmail.com>
To: pynchon-l <pynchon-l at waste.org>
Sent: Wed, Feb 19, 2014 1:22 pm
Subject: Re: The Antinomies of Realism


he media do not reflect and represent the reality of the public but         instead produce it, employing this simulation to justify their own         continuing existence. Thus news feedback functions to confirm to itself,         and to convince us, that someone is watching, that the news is         important, and that the public are politically interested and mobilised.         Desperately needing this confirmation, news programmes tailor         questions, debates and features to provoke it, encouraging viewers to         follow and contribute towards the arguments or the fluctuating         percentage results of the selected vote of the day.Baudrillard's most controversial claim was that the Gulf War never happened. Or rather, thatthe Gulf War and the World Trade Center attacks that came later can only be understood asmedia events.He sees the events of 9/11 in terms of image - this is what we recall when it is mentioned: theendless television repeats of the live pictures - and sees the US/British 'war on terror' responseas a symbolic war primarily. So terrorism and military invasion are seen here as semiotic andsymbolic as much as physical. Here is Merrin's (2005) explanation of Baudrillard's argument.         Baudrillard describes the 9/11 attacks as 'the absolute event'. Instantly         passing into and imploding with its electronic transmission, this was a         global media event, accelerating us into a state of hyperreality and of         feedback, interference and uncertainty. Despite the audience's extension         into the heart of the event - the real-time montage of close-ups, long shots,         multiple angles and ground images, edited and replayed and mixed with         commentary, speculation, political reaction, and the apprehension and         adrenalin of the live moment - no event was 'happening' for them. Their         electronic experience simultaneously actualised and hyperrealised the         real, and de-actualised and deterred it, in its semiotic transformation and         presentation as televisual spectacle for domestic consumption in the         comfort and security of the sign.                                               28

http://www.slideshare.net/mickgoogan/04-baudrillard-the-matrix-and-blade-runner-simulation-and-hyperreality





On Wed, Feb 19, 2014 at 1:16 PM, alice malice <alicewmalice at gmail.com> wrote:

How could anyone write a book about the novel and not know that bad guys often make great narrators? Can you seriously doubt that   Jameson has read the canonical novels, classics, whatever that feature bad guy narratives?  Maybe he has no business writing a book about the novel? Or, maybe he's saying something about the influence of War on art, on narrative, and by extension, the Military that controls things even after the war is ended? 

24 Okla. City U. L. Rev.  681 (1999) 
 Law of Simulated War in Gravity's Rainbow, The; Spencer, Nicholas 

http://heinonline.org/HOL/LandingPage?handle=hein.journals/okcu24&div=37&id=&page=





On Wed, Feb 19, 2014 at 12:21 AM, David Morris <fqmorris at gmail.com> wrote:

War is non-narrative because...bad guys don't narrate?  Is that this guys shtick?


On Tuesday, February 18, 2014, Dave Monroe <against.the.dave at gmail.com> wrote:

"... war ... is virtually non-narrative, and ... this raw material
seeks to appropriate its missing protagonist from any number of
narrative paradigms, ranging from the conventions of generic war
novels or films ... to [a] multiplicity of generic experiments ..."
(p. 251)

http://www.versobooks.com/books/1498-the-antinomies-of-realism
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Pynchon-l / http://www.waste.org/mail/?list=pynchon-l










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