1,321 Matching Annotations
  1. May 2020
    1. Overall

      Ultimately, . . .

    2. However, after describing all of the marvelous things DNA evolution has created, he makes a definitive statement: that none of it would have happened if DNA was incapable of error. A

      Good!

    3. homas’s central focus is the DNA molecule.

      Thomas's central focuses on the DNA molecule to show . . .

    4. Throughout the paper,

      Obviously. Omit.

    1. t. Where our time map falls short is providing a sense of relativity. Instead of thousands of years, just a few on-screen inches separate Nietzsche and Plato. This is nowhere near enou

      Good points! What kind of map might work better?

    2. and trying to quantify things that cannot be put together or described. This sentence impressed me because it is entirely easy to try and justify the differences between two disciplines, but a lot bolder and more difficult to do to make a case for the opposite case.

      Good conversation!

    3. ,” Curzan ‘s main argument is that the ramifications of teaching Standard English must be addressed.

      strong first sentence!!

    1. Eagleton sets out to define one of the most oft-used words to discuss society today. He introduces it as b

      Your most sophisticated analysis yet! Great structure!

    2. “Culture”,

      Italicized: Book title.

    1. gun to shift the language that they are using because they realized that “physical” is a more accurate way to articulate the message that they want to convey. Social distancing co

      Very interesting! Did you discover this argument about why "people have begun to shift the language"? Or is this your idea? Either way, some links and voice markers would be interesting . . . for me, at least :)

      Great convo! Some images, might be useful, too . . .

    1. ad three chairs in my house; one for solitude, two for friendship, three for society. “

      Powerful! Great entry!

    1. This is Water,

      Quotations.

    2. This i

      This what?

    3. t, in E Unibus Pluram, Wallace discusses

      There ya go! Except the title should be in quotes around the Italics (which are italicized here only because it's a different language).

    1. naught.

      Good stuff. I really enjoyed these!

    2. d Hume

      same thing . . . citation, even in informal writing situations . . . why not?

    3. Niccolo Machiavelli

      Give us the source, too. And hyperlinks! z

    4. Fear seeks protection, for which partisans are procured; out of partisans factions are born.

      Ontological! Identity/Difference!

    1. t an environmental issue, it seems that only if we managed to take care of the environment, all would be well. Then the next day, it seems that all the world is contained in economics, or physics, or poetry. At the very l

      And that's Rhetoric, right?! Worthy of further discussion. Good stuff! I suppose it comes down to unpacking the rhetorical sit

    2. This is Water,

      Link

    3. this vision is difficult to accept because it also often demands changing part of one’s identity and life. Religious belief, for example, is not m

      Kuhn's "Paradigm Shift." Fish's "conversion."

    4. choose

      Does he say that most "choose"? How does he define this "choose"? Is it consciously chosen?

    5. Daniel Kahneman,

      Link

    1. ow can we

      A title, too, could help you rhetorically frame this. Really, it's thinking about audience, your readers, and what you want to focus on.

    2. We must fundamentally rethink how we teach grammar in the writing classroom”.

      Could be part of your first sentence, right?

      "argues that '[w]e must be fundamentally . . . " in order to expose the [explain what you think she means by what you call the status quo]."

    3. status quo.

      Which is? Will your readers know this?

    4. some of the things s

      Why not go ahead and tell us here? Then you can more space unpacking the claim?

    5. Curzan details in her “Says Who?” essay

      In her "Says Who?," Anne Curzan . . .

    1. .. to be continued…

      Good stuff! Though, credit yourself for the photos!

    2. when I walked in

      I love that feeling!

    3. he levator scapulae ventralis

      a hyperlink would be cool, helpful.

    1. Great questions. How does an (tacit, even?) understanding of rhetorical situation help? Spoken or written? The exigence of the statement?Is it purely the grammar, the punctuation that clarifies?

  2. Apr 2020
    1. will not change them for intrinsic reasons

      Is it a singular reason, do you think?

    2. mood changes

      Take us to the text.

    3. our discussion

      Speak to the world, rather to "us," ya know? Reach out to them; teach them. Show them the joys of Fish!

    4. “intellectually lost”

      Yet he didn't use those words . . . what changes if he does use those words, I wonder?

    5. Wilde t

      How did you discover Wilde?

    6. The Picture of Dorian Gray”

      Full-text

      The artist is the creator of beautiful things.

    1. structure her prose makes

      IC sub IC sub IC Active sub Passive sub Active

      Interesting which gets active and which gets passive, huh?

    2. something that had an end. I never really thought about how and when innocence disappears.

      A=B, right? Innocence gets defined only in its lost, it seems?

    1. by, namely, imputing the processof abstract determination to the birth of tragedy itself—that is, to theemergence of Greek dramatic practice before Socratic dialectic appeared onthe historical timeline and consequently, as the story goes, ruined tragedy.

      Cole's argument . . .

    2. I sugges

      First person VoiceMarker

    3. it is the logical and temporal step before thedialectic of real determination, determinate negation, or identity anddifference.

      Abstract Determination,

    4. Meanwhile, to acquire a sense of what it means to be Nietzschean anddialectical all at once

      Transition / repeat with a diff

    5. a more sophisticatednotion of dialectics

      the standard view on dialectics (thesis / antithesis / synthesis is reductive

    6. My claim in thischapter is

      Why the first person again?

    7. If this is the sort of dialectic we’re after in Nietzsche, thenwe will have a very hard time finding it,

      Since Deleuze misunderstands Hegel's dialectic, Cole can dismiss Deleuze's claim that Nietzche opposes Hegel's dialectic . . ..

    8. usual canard of thesis, antithesis, andsynthesis

      The standard view of Hegel by non-Hegelians . . . Cole is arguing that this explanation of Hegel's dialectics is "the usual canard."

    9. Perhaps this claim is truefrom the point of view of Deleuze’s own clichés about Hegel in Nietzscheand Philosophy.

      Metacommentary to suggest that Deleuze misunderstands Hegel, from Cole's point of view

    10. that “it is quite clear thatNietzsche wrote [this work] not as a dialectician.”3

      Integrates key words and phrases.

    11. I claim,

      Why does he use the first person here as a Voice Marker?

    12. I believe,

      First person Voice Marker

    13. I claim, as I plan

      First Person. Why does he use it here?

    14. es:

      Signal phrase. Uses the colon because the left is an IC

    15. to combine his erudition in classical studies with his ferventcritique of philosophical fashion, all in the effort to make philology andhistorical scholarship “philosophical” in his new sense of the term.

      Cole strikes to the heart of what he sees as Nietzsche's project

    16. Untimely Meditations,

      Birth of Theory :: Birth of Tragedy <br> Untimely Dialectic :: Untimely Meditations

    17. So who is this Nietzsche?

      Nietzche: 15 October 1844 – 25 August 1900 <br>Hegel: August 27, 1770 – November 14, 1831

    18. But we have,thanks in part to Foucault and especially Deleuze, lost Nietzsche, especiallythe Nietzsche who was deeply and imaginatively dialectical without everworrying how Hegelian he may have sounded.

      The Nietzsche who "was deeply and imaginatively dialectical" has disappeared because that stuff has been supplanted by Foucault and Deleuze.

    19. Deleuze
    20. Foucault
    21. a priori
    22. new city in

      test

  3. Mar 2020
    1. Answer: Because China is a brutal totalitarian dictatorship.

      Because you are propagandist: https://www.thedailybeast.com/white-house-pushes-us-officials-to-criticize-china-for-coronavirus-cover-up/main-info?via=twitter_page

      The talking points appear to have originated in the National Security Council. One section of the cable reads “NSC Top Lines: [People’s Republic of China] Propaganda and Disinformation on the Wuhan Virus Pandemic.”

      “Chinese Communist Party officials in Wuhan and Beijing had a special responsibility to inform the Chinese people and the world of the threat, since they were the first to learn of it,” the cable reads. “Instead, the... government hid news of the virus from its own people for weeks, while suppressing information and punishing doctors and journalists who raised the alarm. The Party cared more about its reputation than its own people’s suffering.”

      The cable was disseminated to officials at a time when the administration is engrossed in a communications battle around how to disseminate the flow of crucial health information to the American public while at the same time deflecting criticism that the White House was unprepared for the pandemic and that President Trump is at odds with members of his coronavirus task force.

      One of the results of those internal deliberations appears to be a renewed focus on underscoring China’s missteps. Two U.S. officials working on the administration’s coronavirus response said the White House is pushing federal agencies to stick closely to the national security council’s talking points, especially when senior officials take to the podium, to ensure continuity with President Trump.

      “These talking points are all anyone is really talking about right now,” one official said. “Everything is about China. We’re being told to try and get this messaging out in any way possible, including press conferences and television appearances.”

      The White House did not immediately respond to a request for comment.

    2. . But as late as Jan. 15, the head of China’s Center for Disease Control and Prevention declared on state television that “the risk of human-to-human transmission is low.”

      Thiessen is carrying Trump's propaganda:

      Intelligence agencies “have been warning on this since January,” a U.S. official who had access to intelligence reporting told the Post. “Donald Trump may not have been expecting this, but a lot of other people in the government were — they just couldn’t get him to do anything about it.

    1. —an “Other”
    2. This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.

      Bingo!

    3. in 2004

      The context of this essay is all 9/11 and the Iraq War happening in full force based on lies.

    4. 1. Select a useful enemy—an “Other”—to convert rage into conflict, even war. 2. Limit or erase the imagination that art provides, as well as the critical thinking of scholars and journalists. 3. Distract with toys, dreams of loot, and themes of superior religion or defiant national pride that enshrine past hurts and humiliations.

      Sound familiar?

    5. Dictators and tyrants routinely begin their reigns and sustain their power with the deliberate and calculated destruction of art

      Art terrifies tyrants! Here's one tiny small example, but there are unfortunately hundreds of thousands examples of this.

    6. Salman Rushdie

      Was coming to speak at Georgetown on March 26th!

    7. Walter Benjamin.
    8. Pablo Picasso
    9. Oscar Wilde

      This is the original manuscript of Oscar Wilde’s De Profundis; a long, harrowing letter written to his lover Lord Alfred Douglas, whose dysfunctional relationship with his father Wilde blamed for his trial and imprisonment from 1895–97. What does the title mean?

      ‘De Profundis’ is Latin for ‘from the depths’; it comes from the first line of Psalm 130 of the penitential Psalms: ‘Out of the depths have I cried unto thee, O Lord’. The writer E. V. Lucas (1868–1938) claimed to have suggested the title; Wilde had suggested ‘Epistola: In Carcere et Vinculis’, meaning ‘Letter: In Prison and in Chains’.

    10. Ai Weiwei,
    11. prison cells
    12. in gulags
    13. pilloried
    14. Paul Robeson

      from "Testimony of Paul Robeson before the House Committee on Un-American Activities, June 12, 1956"

      Mr. SCHERER: You are here because you are promoting the Communist cause.

      Mr. ROBESON: I am here because I am opposing the neo-Fascist cause which I see arising in these committees. You are like the Alien [and] Sedition Act, and Jefferson could be sitting here, and Frederick Douglass could be sitting here, and Eugene Debs could be here.

      "Land of My Fathers" https://www.youtube.com/watch?v=ziJoep1cDlY

    15. Primo Levi

      "The Art of Witness"

      Primo Levi did not consider it heroic to have survived eleven months in Auschwitz. Like other witnesses of the concentration camps, he lamented that the best had perished and the worst had survived. But we who have survived relatively little find it hard to believe him. How could it be anything but heroic to have entered Hell and not been swallowed up?

    16. “Not well. Not only am I depressed,

      I love the honesty. What do you all think?

    17. re-election of George W. Bush.
    1. I was put into a jail once on this account, for one night; and, as I stood considering the walls of solid stone, two or three feet thick, the door of wood and iron, a foot thick, and the iron grating which strained the light, I could not help being struck with the foolishness of that institution which treated my as if I were mere flesh and blood and bones, to be locked up.

      Such a powerful sentence.

    1. The stock market, our swaggering symbol of financial health and Trump’s best asset, has become a neurasthenic Victorian lady prone to taking to her fainting couch.

      Amazing sentence

    1. This new component is what is generally called the "death of the subject" or, to say it in more conventional language, the end of individualism as such.
  4. Feb 2020
    1. be terribly self-conscious.

      A characteristic of Post-Modernism . . .

    2. Louise Erdrich
    3. univocal handle on as a literary territory that's gone from Darwinianly naturalistic to cybernetically post-postmodern ineighty years.

      One perspective

    4. syncretic handle.

      Historicity

    5. This kind of window on nervous American self-perception is justinvaluable, fictionwise. And writers can have faith in television.

      How does Social Media change this equation?

    6. what we as Audience want to see ourselves as. Television, from the surface on down, is about desire. Fictionallyspeaking, desire is the sugar in human food.

      Rushkoff, Merchants of Cool

    7. The second great thing is that television looks to be an absolute godsend for a human subspecies that loves to watch people buthates to be watched itself.

      But Social Media returns the gaze.

    8. espial:

      espial https://www.merriam-webster.com/dictionary/espial

      espial

      noun

      es·​pi·​al | \ i-ˈspī(-ə)l \ Definition of espial

      1 : observation 2 : an act of noticing : discovery First Known Use of espial

      14th century, in the meaning defined at sense 1

    9. Television does notafford true espial because television is performance, spectacle, which by definition requires watchers. We're not voyeurs here at all.We're just viewers. We are the Audience, megametrically many, though most often we watch alone. E unibus pluram.(1)

      How does Social Media change this equation?

    10. Ivy League graduates are now flying straightfrom school to New York and Los Angeles to become television writers and are clearing well over $200,000 to start and enjoyingrapid advancement to harried clip-boarded production status.

      The old Silicon Valley!

    11. prenominate

      Some humor here:

      prenominate adjective

      pre·​nom·​i·​nate | \ (ˌ)prē-ˈnä-mə-nət \ Definition of prenominate

      (Entry 1 of 2) obsolete : previously mentioned

      prenominate verb pre·​nom·​i·​nate | \ (ˌ)prē-ˈnä-mə-ˌnāt \ prenominated; prenominating; prenominates

      Definition of prenominate (Entry 2 of 2)

      transitive verb obsolete : to mention previously

    12. Syndication is anothernew area of public fascination, not only because huge cable stations like Chicago's WGN and Atlanta's WTBS have upped the stakesfrom local to national, but because syndication is changing the whole creative philosophy of network television.

      Syndication from nationalizing the local.

    13. I, like millions of other Americans, know this stuff only because I saw aspecial three-part report about syndication on Entertainment Tonight, itself the first nationally syndicated "news" program and the firstinfomercial so popular that TV stations were willing to pay for it.

      Kinda the first show that blended pop culture with "news": https://en.wikipedia.org/wiki/Entertainment_Tonight

    14. juxtapositions as eerily apposite as anything French surrealists couldcontrive.

      Postmodernism is "juxtapositions."

    15. He figured it was "better to believe I was a TV character than not to believe I was anybody." Dr.Auschlander takes the penitent patient for a walk in the wintery Boston air and promises that he, the identityless guy, can somedayfind out who he really is, provided he can dispense with "the distraction of television." At this cheery prognosis, the patient removeshis own fuzzy winter beret and throws it into the air. The episode ends with a freeze of the aloft hat, leaving at least one viewercredulously rapt.

      Mary Tyler Moore title shot: https://youtu.be/Z1GC6yXZ4e4?t=35

    16. convolved

      convolve verb

      con·​volve | \ kən-ˈvälv , -ˈvȯlv also -ˈväv or -ˈvȯv \ convolved; convolving Definition of convolve

      transitive verb : to roll together : writhe

      intransitive verb : to roll together or circulate involvedly First Known Use of convolve

      1616, in the meaning defined at transitive sense History and Etymology for convolve

      Latin convolvere, from com- + volvere to roll — more at voluble

    17. Therd is nothing but television on this episode; every joke and dramatic surge depends on involution, metatelevision. It isin joke within in-joke.

      Metavision . . . Meta meta meta meta . . . Postmodernism is all about self-awareness of the meta . . .

    18. Betty White from everywhere,
    19. And we seem a jaded, jeering, but willing and knowledgeable Audience. This St. Elsewhere episode was nominated foran Emmy. For best original teleplay

      Amazing

    20. The hippest commercials, with stark computerized settings and blank beauties in mirrored shades and plasticslacks genuflecting before various forms of velocity, force, and adrenaline, seem like little more than TV's vision of how TV offersrescue to those lonely Joe Briefcases passively trapped into watching too much TV.

      Pomo

    21. otiose.

      otiose adjective

      oti·​ose | \ ˈō-shē-ˌōs , ˈō-tē- \ Definition of otiose

      1 : producing no useful result : futile 2 : being at leisure : idle 3 : lacking use or effect : functionless

    22. in like

      Wallace brought this informality to formal writing.

    23. metafiction

      By definition PoMo

    24. Radical it may have been, but thinking that postmodern metafiction evolved unconscious ofprior changes in readerly taste is about as innocent as thinking that all those students we saw on television protesting the war insoutheast Asia were protesting only because they hated the war.

      hmmm

    25. mass of self-conscious watchers and appearers

      hmmm

    26. if realism called it like it saw it, metafiction simply called it as it saw itself seeing itself see it.

      Historicisms . . .linearity.

    27. That products presented as helping you expressindividuality can afford to be advertised on television only because they sell to huge hordes. And so on.

      Perfectly said.

    28. Since the tension between what's said and what's seen is irony's whole sales territory,classic televisual irony works not via the juxtaposition of conflicting pictures or conflicting sounds, but with sights that undercut what'ssaid.

      Televisual irony,.

    29. omelette tells Ed Rabel.
    30. the summer of 1974,

      Watergate. Of course, how did TV get manipulated by the recent Impeachment trial?

    31. conservative

      meaning something different when published. Conservative here means "high culture," . . . kinda . . .

    32. Television is the way it is simply because people tend to be reallysimilar in their vulgar and prurient and stupid interests and wildly different in their refined and moral and intelligent interests. It's allabout syncretic diversity: neither medium nor viewers are responsible for quality.

      How has the Web changed this?

    33. Sorry to sound judgmental, butthere it is: six hours a day is not good

      Based on what is good? What was the conception of good? And would that sound quaint today?

    34. Television's biggest minute-by-minute appeal is that it engages without demanding.

      This strikes me as the same as today?

    35. Its social accountability seems sort of like that of designers ofmilitary weapons: unculpable right up until they get a little too good at their job

      The social media cycle!

    36. But something is malignantly addictive if (1) it causes real problems forthe addict, and (2) it offers itself as relief from the very problems it causes.

      Today?

    37. It's also true that to the extent onebegins to view pseudo-relationships with Bud Bundy or Jane Pauley as acceptable alternatives to relationships with real humans, onehas commensurately less conscious incentive even to try to connect with real 3D persons, connections that are pretty important tomental health.

      Here's the baseline of cultural thought at the time.

    38. The modes of presentation that work best for TV - stuff like "action," with shoot-outs and car wrecks, or the rapid-fire "collage" ofcommercials, news, and music videos, or the "hysteria" of prime-time soap and sitcom with broad gestures, high voices, too muchlaughter - are unsubtle in their whispers that, somewhere, life is quicker, denser, more interesting, more ... well, lively thancontemporary life as Joe Briefcase knows and moves through it.

      The baseline . . . escapism of reality . . . is that even a question anymore?

    39. But the truth is that there's some complex high-dose psychic transactionbetween TV and Audience whereby Audience gets trained to respond to and then like and then expect trite, hackneyed, numbingtelevision shows, and to expect them to such an extent that when networks do occasionally abandon time-tested formulas we usuallypunish them for it by not watching novel forms in sufficient numbers to let them get off the ground.

      And today?

    40. But the truth is that there's some complex high-dose psychic transactionbetween TV and Audience whereby Audience gets trained to respond to and then like and then expect trite, hackneyed, numbingtelevision shows, and to expect them to such an extent that when networks do occasionally abandon time-tested formulas we usuallypunish them for it by not watching novel forms in sufficient numbers to let them get off the ground.

      And today?

    41. A Current Affair,

      Bill O'Reilly's start . . .

    42. Real People,
    43. The apotheosis of the pop in postwar art marked a whole new marriage between high and low culture.

      Which is post-modernism.

      They no longer "quote" such "texts" as a Joyce might have done, or a Mahler; they incorporate them, to the point where the line between high-art and commercial forms seems increasingly difficult to draw. Frederic Jameson. "Postmodernism and Consumer Society"

    44. Put simply, the pop reference works so well in contemporary fictionbecause (1) we all recognize such a reference, and (2) we're all a little uneasy about how we all recognize such a referenc

      But this is gone for sure today: we don't have this commonality, this topoi . . . or do we?

    45. it was making statements like "The Museum is the Mausoleum is the Men's Room,"etc. It was an example of what Octavio Paz calls "meta-irony,"[11] an attempt to reveal that categories we divide into superior/artyand inferior/vulgar are in fact so interdependent as to be coextensive. The use of "low" references in today's literary fiction, on theother hand, serves a less abstract agenda. It is meant (1) to help create a mood of irony and irreverence, (2) to make us uneasy andso "comment" on the vapidity of U.S. culture, and (3) most important, these days, to be just plain realistic.

      Useful counter argument . . . on when pomo begins . . .

    46. For younger writers, TV's as much a part of reality as Toyotasand gridlock. We literally cannot imagine life without it.

      This is the current Social Media?

    47. But the fact is that, for most of the educated young readership forwhom Leavitt writes, members of a generation raised and nourished on messages equating what one consumes with who one is,Leavitt's descriptions do the job.

      So key: the referants define . .

    48. In one of the graduate workshops Isuffered through, an earnest gray eminence kept trying to convince our class that a literary story or novel always eschews "anyfeature which serves to date it," because "serious fiction must be timeless." When we finally protested that, in his own well-knownwork, characters moved about in electrically lit rooms, drove cars, spoke not Anglo-Saxon but postwar English, inhabited a NorthAmerica already separated from Africa by continental drift, he impatiently amended his proscription to those explicit references thatwould date a story in the frivolous "Now." When pressed for just what stuff evoked this f.N., he said of course he meant the "trendymass-popular-media" reference. And here, at just this point, transgenerational discourse broke down. We looked at him blankly. Wescratched our little heads. We didn't get it. This guy and his students just didn't imagine the "serious" world the same way. Hisautomobiled timeless and our FCC'd own were different.

      This is everything

    49. It was in post-atomic America that pop influences on lit became-something more than technical. About the time television first gaspedand sucked air, mass popular U.S. culture became high-art viable as a collection of symbols and myth. The episcopate of this pop-reference movement were the post-Nabokovian black humorists, the metafictionists and assorted franc- and latinophiles only latercomprised by "postmodern."

      Why the post modernists were the high-artists of their time.

    50. the management of spontaneous moments.

      A key DFW trope: Managed Fun!

    51. "We're not here to capture an image. We're here to maintain one.

      DeLillo: I discovered him through this essay . . .

    52. Sonys as characters in Heideggerianparables

      Objects gain subjectivity

    53. Realism made the strange familiar.

      Temporality . . . Realism > Modernism > Post-Modernism

    54. atavistic

      i.e. doing what's always been done . . . which must be done . . .

    55. relate to narrative,

      Rorty: Language is perception . . . the narrative construction of truth . . .

    56. It's not paranoid or hysterical to acknowledge that television in large doses affects people's values and self-esteem in deep ways.

      And today? With the affordability of changing appearance?

    57. But since, at latest, the eighties, the individualist side of the great U.S. conversation has held sway in TV advertising.

      the universalizing of the individual?

    58. New Right's rise

      Second New Right

      The second New Right (1964–2014) was formed in the wake of the Goldwater campaign and had a more populist tone than the first New Right. The second New Right tended to focus on emotional, wedge issues (such as abortion) and was often linked with the Religious Right.[34] The second New Right formed a policy approach and electoral apparatus that brought Ronald Reagan into the White House in the 1980 presidential election. The New Right was organized in the American Enterprise Institute and The Heritage Foundation to counter the so-called "liberal establishment". In elite think tanks and local community organizations alike, new policies, marketing strategies, and electoral strategies were crafted over the succeeding decades to promote strongly conservative policies.[35]

      Second New Right figures:

      Ronald Reagan – 40th president of the United States, actor, 33rd governor of California, union leader

      George H.W. Bush – 41st president of the United States, U.S. Ambassador to the United Nations, Director of Central Intelligence, businessman, humanitarian

      George W. Bush – 43rd president of the United States Richard Viguerie – direct mail activist

      Howard Phillips – founder of The Conservative Caucus

      Robert Grant – Christian right activist and founder of Christian Voice

      Terry Dolan – founder of the National Conservative Political Action Committee

      Phyllis Schlafly – anti-feminist activist and founder of the Eagle Forum

      Newt Gingrich – Former Congressman, former Speaker of House, a candidate for the Presidency of the United States, and author

      Paul Weyrich – founder of the Heritage Foundation and the Free Congress

    59. w/r/t

      DFW was the first I ever noticed writing like this, using w/r/t and so forth.

    60. - that ultimately TV, and not any specific product or service, will be regarded by Joe B. asthe ultimate arbiter of human worth.

      How so?

    61. For, as with TV,whether we happen personally to love technology, hate it, fear it, or all three, we still look relentlessly to technology for solutions tothe very problems technology seems to cause - catalysis for smog, S.D.I. for missiles, transplants for assorted rot.

      Pomo!

    62. What do you do when postmodern rebellion becomes a pop-culturalinstitution?

      That's the question!

    1. What do you do when postmodern rebellion becomes a pop-culturalinstitution?

      the problem!

    2. For, as with TV,whether we happen personally to love technology, hate it, fear it, or all three, we still look relentlessly to technology for solutions tothe very problems technology seems to cause - catalysis for smog, S.D.I. for missiles, transplants for assorted rot

      Pomo!

    3. that ultimately TV, and not any specific product or service, will be regarded by Joe B. asthe ultimate arbiter of human worth.

      how so?

    4. w/r/t

      DFW was the first I ever noticed writing like this

    5. the New Right's rise

      Second New Right

      The second New Right (1964–2014) was formed in the wake of the Goldwater campaign and had a more populist tone than the first New Right. The second New Right tended to focus on emotional, wedge issues (such as abortion) and was often linked with the Religious Right.[34] The second New Right formed a policy approach and electoral apparatus that brought Ronald Reagan into the White House in the 1980 presidential election. The New Right was organized in the American Enterprise Institute and The Heritage Foundation to counter the so-called "liberal establishment". In elite think tanks and local community organizations alike, new policies, marketing strategies, and electoral strategies were crafted over the succeeding decades to promote strongly conservative policies.[35]

      Second New Right figures:

      Ronald Reagan – 40th president of the United States, actor, 33rd governor of California, union leader
      George H.W. Bush – 41st president of the United States, U.S. Ambassador to the United Nations, Director of Central Intelligence, businessman, humanitarian
      George W. Bush – 43rd president of the United States
      Richard Viguerie – direct mail activist
      Howard Phillips – founder of The Conservative Caucus
      Robert Grant – Christian right activist and founder of Christian Voice
      Terry Dolan – founder of the National Conservative Political Action Committee
      Phyllis Schlafly – anti-feminist activist and founder of the Eagle Forum
      Newt Gingrich – Former Congressman, former Speaker of House, a candidate for the Presidency of the United States, and author
      Paul Weyrich – founder of the Heritage Foundation and the Free Congress Foundation
      
    6. But since, at latest, the eighties, the individualist side of the great U.S. conversation has held sway in TV advertising.

      the universalizing of the individual.

    7. It's not paranoid or hysterical to acknowledge that television in large doses affects people's values and self-esteem in deep ways.

      And today? With the affordability of changing appearance?

    8. relate to narrative,

      Rorty: Language is perception . . . the narrative construction of truth . . .

    9. atavistic.

      i.e. doing what's always been done . . . which must be done . . .

    10. Sonys as characters in Heideggerianparables

      Objects gain subjectivity

    11. the management of spontaneous moments.

      A key DFW trope

    12. It was in post-atomic America that pop influences on lit became-something more than technical. About the time television first gaspedand sucked air, mass popular U.S. culture became high-art viable as a collection of symbols and myth. The episcopate of this pop-reference movement were the post-Nabokovian black humorists, the metafictionists and assorted franc- and latinophiles only latercomprised by "postmodern."

      Why the post modernists were the high-artists of their time.

    13. In one of the graduate workshops Isuffered through, an earnest gray eminence kept trying to convince our class that a literary story or novel always eschews "anyfeature which serves to date it," because "serious fiction must be timeless." When we finally protested that, in his own well-knownwork, characters moved about in electrically lit rooms, drove cars, spoke not Anglo-Saxon but postwar English, inhabited a NorthAmerica already separated from Africa by continental drift, he impatiently amended his proscription to those explicit references thatwould date a story in the frivolous "Now." When pressed for just what stuff evoked this f.N., he said of course he meant the "trendymass-popular-media" reference. And here, at just this point, transgenerational discourse broke down. We looked at him blankly. Wescratched our little heads. We didn't get it. This guy and his students just didn't imagine the "serious" world the same way. Hisautomobiled timeless and our FCC'd own were different.

      This is everything

    14. But the fact is that, for most of the educated young readership forwhom Leavitt writes, members of a generation raised and nourished on messages equating what one consumes with who one is,Leavitt's descriptions do the job

      So key: the referants define . . .

    15. For younger writers, TV's as much a part of reality as Toyotasand gridlock. We literally cannot imagine life without it.

      This is the current Social Media . . .

    16. it was making statements like "The Museum is the Mausoleum is the Men's Room,"etc. It was an example of what Octavio Paz calls "meta-irony,"[11] an attempt to reveal that categories we divide into superior/artyand inferior/vulgar are in fact so interdependent as to be coextensive. The use of "low" references in today's literary fiction, on theother hand, serves a less abstract agenda. It is meant (1) to help create a mood of irony and irreverence, (2) to make us uneasy andso "comment" on the vapidity of U.S. culture, and (3) most important, these days, to be just plain realistic.

      Useful counter argument . . . on when pomo begins . . .

    17. Put simply, the pop reference works so well in contemporary fictionbecause (1) we all recognize such a reference, and (2) we're all a little uneasy about how we all recognize such a reference

      But this is gone for sure today: we don't have this commonality, this topoi . . . or do we?

    18. The apotheosis of the pop in postwar art marked a whole new marriage between high and low culture.

      Which is post-modernism.

      They no longer "quote" such "texts" as a Joyce might have done, or a Mahler; they incorporate them, to the point where the line between high-art and commercial forms seems increasingly difficult to draw. https://art.ucsc.edu/sites/default/files/Jameson_Postmodernism_and_Consumer_Society.pdf

    19. Real People
    20. A Current Affair

      Bill O'Reilly's start . . .

    21. But the truth is that there's some complex high-dose psychic transactionbetween TV and Audience whereby Audience gets trained to respond to and then like and then expect trite, hackneyed, numbingtelevision shows, and to expect them to such an extent that when networks do occasionally abandon time-tested formulas we usuallypunish them for it by not watching novel forms in sufficient numbers to let them get off the ground.

      And today?

    22. The modes of presentation that work best for TV - stuff like "action," with shoot-outs and car wrecks, or the rapid-fire "collage" ofcommercials, news, and music videos, or the "hysteria" of prime-time soap and sitcom with broad gestures, high voices, too muchlaughter - are unsubtle in their whispers that, somewhere, life is quicker, denser, more interesting, more ... well, lively thancontemporary life as Joe Briefcase knows and moves through it

      The baseline . . . escapism of reality . . . is that even a question anymore?

    23. It's also true that to the extent onebegins to view pseudo-relationships with Bud Bundy or Jane Pauley as acceptable alternatives to relationships with real humans, onehas commensurately less conscious incentive even to try to connect with real 3D persons, connections that are pretty important tomental health

      Here's the baseline of cultural thought at the time.

    24. But something is malignantly addictive if (1) it causes real problems forthe addict, and (2) it offers itself as relief from the very problems it causes.

      Today?

    25. Its social accountability seems sort of like that of designers ofmilitary weapons: unculpable right up until they get a little too good at their job

      The social media cycle!

    26. Television's biggest minute-by-minute appeal is that it engages without demanding.

      This strikes me as the same as today?

    27. Sorry to sound judgmental, butthere it is: six hours a day is not good.

      Based on what is good? What was the conception of good? And would that sound quaint today?

    28. Television is the way it is simply because people tend to be reallysimilar in their vulgar and prurient and stupid interests and wildly different in their refined and moral and intelligent interests. It's allabout syncretic diversity: neither medium nor viewers are responsible for quality.

      How has the Web changed this?

    29. conservative

      meaning something different when published. Conservative here means "high culture," . . . kinda . . .

    30. the summer of 1974,

      Watergate. Of course, how did TV get manipulated by the recent Impeachment trial?

    31. omelette tells Ed Rabel.
    32. Since the tension between what's said and what's seen is irony's whole sales territory,classic televisual irony works not via the juxtaposition of conflicting pictures or conflicting sounds, but with sights that undercut what'ssaid.

      Televisual irony,.

    33. That products presented as helping you expressindividuality can afford to be advertised on television only because they sell to huge hordes. And so on

      Perfect.

    34. if realism called it like it saw it, metafiction simply called it as it saw itself seeing itself see it.

      Historicisms . . .linearity.

    35. as exchanging an old idea of itself as a nation of do-ers and be-ers for a new vision of the U.S.A. as an atomizedmass of self-conscious watchers and appearers.

      Hmm.

    36. Radical it may have been, but thinking that postmodern metafiction evolved unconscious ofprior changes in readerly taste is about as innocent as thinking that all those students we saw on television protesting the war insoutheast Asia were protesting only because they hated the war.

      Hmmm.

    37. We start to "feel" ourselves feeling, yearn to experience "experiences." And that American subspecies into writing starts writing moreand more about...

      This seems quite current?

    38. in like

      Wallace brought this informality to formal writing.

    39. otiose

      otiose adjective

      oti·​ose | \ ˈō-shē-ˌōs , ˈō-tē- \ Definition of otiose

      1 : producing no useful result : futile 2 : being at leisure : idle 3 : lacking use or effect : functionless

    40. For best original teleplay

      Amazing.

    41. Betty White from everywhere

      And still everywhere!

    42. Therd is nothing but television on this episode; every joke and dramatic surge depends on involution, metatelevision. It isin joke within in-joke

      Metavision . . . Meta meta meta meta . . . Postmodernism is all about self-awareness of the meta . . .

    43. convolved

      convolve verb

      con·​volve | \ kən-ˈvälv , -ˈvȯlv also -ˈväv or -ˈvȯv \ convolved; convolving Definition of convolve

      transitive verb : to roll together : writhe

      intransitive verb : to roll together or circulate involvedly First Known Use of convolve

      1616, in the meaning defined at transitive sense History and Etymology for convolve

      Latin convolvere, from com- + volvere to roll — more at voluble

    44. He figured it was "better to believe I was a TV character than not to believe I was anybody." Dr.Auschlander takes the penitent patient for a walk in the wintery Boston air and promises that he, the identityless guy, can somedayfind out who he really is, provided he can dispense with "the distraction of television." At this cheery prognosis, the patient removeshis own fuzzy winter beret and throws it into the air. The episode ends with a freeze of the aloft hat, leaving at least one viewercredulously rapt.

      Mary Tyler Moore title shot: https://youtu.be/Z1GC6yXZ4e4?t=35

    45. juxtapositions as eerily apposite as anything French surrealists couldcontrive

      Postmodernism is "juxtapositions."

    Tags

    Annotators

    1. They no longer "quote" such "texts" as a Joyce might have done, or a Mahler; they incorporate them, to the point where the line between high-art and commercial forms seems increasingly difficult to draw.

      https://hyp.is/vD5FeFc7EeqZI0P9oRLJaQ

      David Foster Wallace

      The apotheosis of the pop in postwar art marked a whole new marriage between high and low culture. For the artistic viability ofpostmodernism is a direct consequence, again, not of any new facts about art, but of facts about the new importance of masscommercial culture.