intellect Crash Culturesmodernity, mediation and the material phần 5 ppsx

Tookey, C. (1996) Morality dies in the twisted wreckage. Daily Mail. 9th November, 6. Tookey, C (1997) Does anything appal this man? Daily Mail. 20th March 1997,14–15. Walker, A. (1996) A film beyond the bounds of depravity. Evening Standard. 3rd June, 16. Crash: Beyond the Boundaries of Sense 77 [...]... Crash Cultures: modernity, mediation and the material bungee-jumping simulate the near-death experience of the crash (Virilio 19 95: 93) Death, even one’s own, saves one from boredom by being incorporated into the imminent banality of another interactive entertainment package Where fantasy restores the illusion, deferral and the coming promise of a sexual relation in the film, there is no fantasy or place... show, it is not the authorised conjunctions of the gendered body which determines their erotic itinerary but the abrasions and indentations of flesh and leg-brace, the coincidence of the body and an intimate design technology The wounds incised on their bodies by their collisions become the ‘abstract vents’ of a new sexuality (Ballard 19 95: 179) This erotic combinatory has parallels in the structural... murmurs his name and says that she is OK With a consolatory air, he tenderly kisses her and whispers ‘Maybe next time, darling … maybe next time’ They have sex where they are lying The camera rises, with a warm crescendo of orchestral strings, above the lovers’ ardent embrace on the grassy bank A romantic climax and the end of the film The ending rewrites the story as the rediscovery of the illusion of... elsewhere, in another scene, at another time, beyond human comprehension in the missed instantaneity of the crash Notes 1 2 Jouissance includes Lacan’s sense of the ‘getting’ of meaning (‘enjoy-meant’) and ‘erotic bliss’ (Lacan 1990: 16; 89), and his account of the discharges of sexual and bodily energies exceeding symbolic law, that is, ‘beyond the phallus’, ‘God and the Jouissance of The [under erasure]... transformed by the crash and becomes, again, a liberating experience Maybe What sustains the illusion is the intensity given by death, a fantasised jouissance in which the thrill of a fatal crash reinvigorates desire through loss of control and of oneself But the practice enjoyed by the Ballards has already been commodified For Virilio the pleasures of dangerous and extreme sports and pastimes such as 87 Crash. .. intestines, light …) The metonymy consists in jarring contiguities which interchange the two series Thus the eye of the matador Granero, spurting from his head ‘with the same force as innards from a belly’ (Bataille 1987: 54 ), and the eye of the priest Don Aminado placed in the body of Simone, interchange with the cat’s saucer of milk of the opening chapter, as with the liquifying head of the female cyclist... technological artifacts: the ‘dulled aluminium and areas of imitation wood laminates’ of the airport buildings, the coincidence of a ‘contoured lighting system’ and the bald head of a mezzanine bartender When confronted in hospital with Dr Helen Remington, the wife of the chemical engineer killed in the impact, Ballard is incited by the conjunction of her left armpit’ and the ‘chromium stand’ of the X-ray camera... Subjects and the Auto-Destruction of Metaphor David Roden The Other Side of Hyperspace Since the publication of Donna Haraway’s essay A Manifesto for Cyborgs: Science, Technology and Socialist Feminism in the 1980s, the figure of the cyborg, ‘creatures simultaneously animal and machine who populate worlds ambiguously natural and crafted’ (Haraway 1989: 174), has emerged in philosophy and cultural theory... combinatory has parallels in the structural eroticism that Roland Barthes elicits in his essay on Georges Bataille’s Story of the Eye Barthes shows that the erotic 95 Crash Cultures: modernity, mediation and the material effects of Bataille’s narrative arise from a ‘metonymic’ crossing of terms from two metaphoric series: that of the ‘eye’ which establishes the series eggs, head, testicles, sun …; that of ‘liquid’... notion of excessive expenditure, sacrificial consumption and inner experience (Botting and Wilson 1997); and Lyotard’s ‘acinema’ of the libidinal intensities of the drives and the wasteful and pyrotechnical dissipation of energy and images (Benjamin 1989: 169–80) For a discussion of the distinction between ‘hypermodern’ and ‘postmodern’, see the issue on ‘Hypervalue’, Cultural Values 1: 2 (1997) References . of their production and the flaws and glitches, minor ‘crashes’ occurring to and within the mechanised images themselves. These mistakes or errors, indicative of the mechanical process of their production,. sex. Rather, they suffer the effects of autosex, they become its ‘victims’ and they eroticize themselves precisely as such in the form of their wounds and scars. Strangely, this is where Crash. and photographed reenactments of the celebrated deaths of James Dean and Jayne Mansfield. The photographic image becomes the only means by which the Crash Cultures: modernity, mediation and the