P       RNCU   REPO   ODER       E            P O S T M O D E R N
P  TMOD RNCU  U EP S  ODER  ULTU E               C U L T U R E
P  TMODERNCU  UREPOS  ODER  ULTU E          an electronic journal
P  TMODERNCU  UREPOS  ODER       E           of interdisciplinary
Volume 16, Number 1 (September, 2005)              ISSN: 1053-1920

Editor:                             Eyal Amiran

Review Editor:                      Kent Puckett

Editorial Collective:		    Lisa Brawley
                                    James F. English
                                    Paula Geyh                                    
                                    Stuart Moulthrop
                                    John Unsworth

Managing Editor:                    Claire Chantell

Editorial Assistant:                Benjamin Bishop
Editorial Board:                                           

     James Berger                   Patrick O'Donnell
     Heesok Chang                   Bob Perelman
     Wendy Hui Kyong Chun           Marjorie Perloff
     Ashley Dawson                  Fred Pfeil
     Johanna Drucker                Peggy Phelan
     Graham Hammill                 Arkady Plotnitsky
     Terry Harpold                  Tilottama Rajan
     Steven Helmling                Judith Roof
     David Herman                   Susan Schultz
     Matthew Kirschenbaum           Katie Stewart
     Neil Larsen                    Rei Terada
     Akira Lippit                   Darren Tofts
     Adrian Miles                   Paul Trembath
     Jim Morrison                   Jeffrey Williams
     Sianne Ngai
    Timothy Donovan, A. Samuel Kimball, and Jilliam Smith, 
    Fog of War: What Yet Remains
    Ashley Dawson, "Love Music, Hate Racism": The Cultural 
    Politics of the Rock Against Racism Campaigns, 1976-1981
    Dalia Judovitz, Duchamp's "Luggage Physics": Art on 
    the Move
    Ben Roberts, Stiegler Reading Derrida: The Prosthesis of 
    Deconstruction in Tehnics
    Laura Hinton, To Write Within Situations of 
    Contradiction: An Interview with Carla Harryman
    Jeffrey Williams, The Ubiquity of Culture. A review 
    essay considering Francis Mulhern, _Culture/Metaculture_ 
    (London: Routledge, 2000) and Terry Eagleton, _The 
    Idea of Culture_ (Oxford: Blackwell, 2000).
    David Herman, Wittgenstein's Legacy: Metagrammar, Meaning, 
    and Ordinary Language. 
    A review of Walter Jost, _Rhetorical Investigations: 
    Studies in Ordinary Language Criticism_ (Charlottesville: U 
    of Virginia P, 2004).
    Derek Nystrom, Fear of Falling Sideways: Alexander 
    Payne's Rhetoric of Class. A review of _Sideways_. Dir. 
    Alexander Payne. Perf. Paul Giamatti, Thomas Haden Church, 
    Virginia Madsen, Sandra Oh. Fox Searchlight, 2004.
    Lori Emerson, Demystifying the Digital, Re-animating the 
    Book: A Digital Poetics. A review of Loss Glazier, 
    _Anatman, Pumpkin Seed, Algorithm_ (Cambridge: Salt 
    Press, 2003).
    David Caplan, On Poetic Curiosity. A response to Lori 
    Emerson, "Demystifying the Digital, Re-animating the 
    Book: A Digital Poetics."
    Andrew Saldino, Economy of Faith. A review of Mark C. 
    Taylor, _Confidence Games_ (Chicago: U of Chicago P, 2004). 
                      Notices (HTML Version Only)
                      Notes on Contributors
    Ashley Dawson, "Love Music, Hate Racism": The Cultural 
    Politics of the Rock Against Racism Campaigns, 1976-1981
        * Abstract: During the mid- to late 1970s, Britain 
    endured an upsurge of neo-fascist organizing and racial 
    attacks. In response, a strong anti-racist movement grew 
    up among Britain's ethnic minority communities, leading to 
    radical new forms of organizing. Nascent British youth 
    subcultures of the period such as punk were sucked into the 
    vortex of racism. This article examines the organization Rock 
    Against Racism (RAR), which was formed to combat this trend. 
    In its five-year history, RAR drew on the forms of mongrel 
    culture developing among certain sectors of urban British 
    youth to stage groundbreaking performances in which reggae 
    and punk subcultures cross-pollinated. Despite its links to 
    established organizations of the far Left, RAR succeeded in 
    uniting aesthetics and politics in a radical new way by 
    drawing on rather than preaching to youth subcultures of 
    the day. As a result, it produced an important model of 
    autonomous organizing that continues to resonate today. --ad 
    Timothy Donovan, A. Samuel Kimball, and Jillian Smith, 
    Fog of War: What Yet Remains
        * Abstract: In memory of Jacques Derrida, this 
    collaborative project reads Errol Morris's documentary 
    Fog of War deconstructively--that is, according to 
    the internal contradictions that characterize the film's 
    protagonist and his discourse. Although McNamara intuits 
    the structural limits of the concepts that govern his 
    discourse, he does not know how to thematize these limits 
    formally. Consequently, he remains caught between insight 
    and blindness in a number of contradictions the implications 
    (social, political, military, psychological, and others) of 
    which he glimpses and struggles to negotiate, but finally 
    cannot name. These contradictions and unnameables require the 
    intervention of Derrida's deconstructions--of a nuclear logic, 
    of voice, of sight, of narrative and filmic framing--to 
    register the lessons of McNamara's lessons. --td, sk, js 
    Laura Hinton, To Write Within Situations of 
    Contradiction: An Introduction to the Cross-Genre Writings 
    of Carla Harryman
        * This interview took place in New York City in May 2003. 
    It was revised via email exchanges between Carla Harryman 
    and Laura Hinton from that time through 2005. --lh 
    Dalia Judovitz, Duchamp's "Luggage Physics": Art on the 
        * Abstract: During the period of the buildup and onset 
    of World War II, Marcel Duchamp reassembled reproductions of 
    his artistic works in The Box in a Valise (1935-41). This 
    portable museum of miniaturized reproductions, presented in 
    limited edition as signed originals, raises seminal questions 
    about his supposed abandonment of art. Does his gesture of 
    taking refuge from war imply a retreat into art? Is this 
    compilation of reproductions in a valise merely a self-referential 
    artistic exercise? Or does it represent a reflection on the 
    vulnerability of art in the face of war, since according to 
    Duchamp, "art never saved the world"? An examination of his 
    correspondence regarding his first migration to the U.S. 
    during World War II along with his experiments with portable 
    art during this period suggests that the trauma of war 
    exacerbated his growing disenchantment with art. This essay 
    shows that rather than attempting to reclaim past history as 
    an object of nostalgia or autobiographical self-reference, 
    The Box in a Valise delineates a postmodern horizon for new 
    forms of making through appropriation that are no longer 
    reducible to art and to the institution of the museum. --dj 
    Ben Roberts, Stiegler Reading Derrida: The Prosthesis of 
    Deconstruction in Technics
        * Abstract: This essay examines the relationship between 
    Derrida's work and that of Bernard Stiegler. Stiegler's 
    thinking can be seen as a radicalization of the idea of the 
    supplement in Derrida. Stiegler differentiates his thinking about 
    technics from Derrida's thinking around the supplement by arguing 
    that, whereas Derrida is interested in a logic of supplementarity, 
    he is interested in the historical differentiations of the 
    technical supplement. Having established the basic terrain of 
    Stiegler's argument in the first volume of Technics and Time, 
    the essay discusses the relationship of that argument to Derrida's 
    work. It exposes various problems with Stiegler's use of what he 
    seems fairly determined to regard as the concept of differance. 
    Stiegler himself sees a problem in the relation between his analysis 
    of technics and Derrida's thinking in that the latter doesn't have 
    an account of the emergence of the human as the point at which the 
    "living articulates itself upon the non-living." Here the essay 
    elucidates this difference with reference to Derrida's own responses 
    to Stiegler in the interviews between the two published as 
    Echographies of Television. --br
 Copyright (c) 2005 Postmodern Culture & Johns Hopkins 
University Press

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