Tweet I just spent the last two weeks selling my self-published book. I published a book a few years ago with Time Warner, but I wanted to see what it would be like to self-publish. I decided against an ebook format because I really like holding the book of an author I love to read. So I went with a print book.
We will make our own future Text. As more pragmatic assessments of the industry surfaced, so too did talk of the myriad inequities that were exacerbated by the information economy—most notably, the digital divide, a phrase that has been used to describe gaps in technological access that fall along lines of race, gender, region, and ability but has mostly become a code word for the tech inequities that exist between blacks and whites.
Forecasts of a utopian to some race-free future and pronouncements of the dystopian digital divide are the predominant discourses of blackness and technology in the public sphere. What matters is less a choice between these two narratives, which fall into conventional libertarian and conservative frameworks, and more what they have in common: In these politics of the future, supposedly novel paradigms for understanding technology smack of old racial ideologies.
In each scenario, racial identity, and blackness in particular, is the anti-avatar of digital life. Blackness gets constructed as always oppositional to technologically driven chronicles of progress. That race and gender distinctions would be eliminated with technology was perhaps the founding fiction of the digital age.
Spurred by "revolutions" in technoscience, social and cultural theorists looked increasingly to information technology, especially the Internet and the World Wide Web, for new paradigms. We [End Page 1] might call this cadre of analysts and boosters of technoculture, who stressed the unequivocal novelty of identity in the digital age, neocritics.
Seemingly working in tandem with corporate advertisers, neocritics argued that the information age ushered in a new era of subjectivity and insisted that in the future the body wouldn't bother us any longer.
There was a peculiar capitalist logic to these claims, as if writers had taken up the marketing argot of "new and improved.
As rapturous proclamations of the Internet's ability to connect everyone, everywhere echoed the predictions that greeted the age of the telephone, so did neocriticism's imperative to embrace the new and transform the body fall neatly in line with older narratives of technology and forgetting—most notably, the futurism movement of the turn of the twentieth century.
In Filippo Tommaso Marinetti, an Italian artist, published "The Foundation and Manifesto of Futurism," in which he called for a new aesthetic that could properly represent the sensation of living in a rapidly modernizing world.
Marinetti glorified the creative destruction of war, exalted the beauty of "eternal, omnipresent speed," and promised to sing of the revolutionary potential of factories, shipyards, locomotives, and airplanes.
He called for the end of the old, proclaiming, "But we want no part of it, the past, we the young and strong Futurists!
Technoevangelist Timothy Leary proclaimed that advances in technology augured the end of burdensome social identities. Out with those old categories from the social movements of the s, in with the new. Leary predicted that "in the future, the methods If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'.
You are not currently authenticated. View freely available titles:A ground-breaking experiment reveals how ancient Egyptians built the giant obelisks of Thebes, and new discoveries at this holy site could explain why these mysterious marvels triggered the downfall of the pharaohs and the end of Egypt's golden age.
He might want to find some and fast; “Take Shelter” is a very powerful film, even more powerful than his impressive debut, “Shotgun Stories,” from In my opinion, it’s one of the best movies of the year.
"Ode to the Confederate Dead" cannot be understood without the framework of the classical world.
Here, as in "The Mediterranean" and "Aeneas at Washington," Tate speaks of the present only in relation to the past, and his view of the past is the epic view, heroic, exalted, the poet's past rather than the historian's. Inspirited by [a] wind of promise, my daydreams become more fervent and vivid.
I try in vain to be persuaded that the pole is the seat of frost and desolation; it ever presents itself to my imagination as the region of beauty and delight. What's the meaning of Bob Dylan's song Tambourine Man?
Update Cancel. ad by TruthFinder. cast your dancing spell my way I promise to go under it Hey! Mr. Tambourine Man, play a song for me he's just the inspiration. k Views · View 17 Upvoters. Thank you for your feedback!
Your feedback is private. Is this answer still relevant and. James Patterson and Ann Patchett were named the inaugural ambassadors for the Book Industry Charitable (BINC) Foundation and hope to increase awareness of BINC’s commitment to financial assistance for bookstore employees.