The Island of Doctor Moreau author H. Wells Source: One More Library The Strange Case of Dr. Jekyll and Mr. Do you want to read about another topic?
Art and Photography. Alternative Therapy. Business and Investment. Food and drinks. Mystery and Thriller. Self Improvement. Answering that question — recognising how science fiction style and motifs had a role in the construction of a post-formalist discourse in the US — suggests why Smithson was so quickly canonised as a proto-postmodernist: he showed how an astute iconoclasm, driven by a union of high theory and popular culture, could open up territory for an upstart avant-garde.
Which is not to say his posthumous postmodern epigones got Smithson wrong but rather that their fascination with the discursive element blinded them to the process by which he built that allegorical potential into a sustained body of writing. To put it another way, Smithson might be better seen as one of a succession of artists or art movements who used the material of science fiction and the mentality of the fan to establish divergent streams within modernism.
Michel Foucault was read within the context of the anti-psychiatry movement. All citations are from the English paperback edition by Sphere, London, The title of this essay is taken from the title of Book 2, Chapter 5, p. Boston: Museum of Fine Arts, , Lewis, The adoring audience: fan culture and popular media London: Routledge, , 56—7.
Moreover, in the film versions of his narratives, some of the more eccentric and anachronistic aspects of his fiction are not given their full due, such as the religion of Mercerism in Do Androids Dream of Electric Sheep, which did not make it into the final version of Blade Runner, thereby making his fiction seem more homogenous than it is on the page. From music, to writing, to fine art and artefacts, Dick gave a prominent role to the arts in his fiction, and reserved a special place for two kinds of objects.
The first are those that require close manual attention in their production. Dick often found a way to celebrate the virtues of the handmade in his stories.
Craftsmen as it were. For example, the jewellery and antiques central to the narrative of The Man in the High Castle are redolent of either the handmade or the historical. The Man in the High Castle proposes an alternate history in which the Allies were defeated in WWII and the Nazis, who have colonised the Eastern half of the United States, have invented the means to fly across the Atlantic in forty-five minutes by rocket ship and to transport humans to Mars and beyond.
Among the Japanese occupi- ers of the Western portion of the country are collectors who have a mania for pre-War Americana, objects such as the Colt. Such objects are bought and sold in the story as authentic arte- facts with a deep sense of historicity, but, as we discover, many of them are mass-produced fakes posing as the real thing. We also encounter in the narrative a piece of hand-crafted, contemporary jewellery, which, according to a Japanese collector, in its irregular shape embodies the principle of wu, a Chinese term referring to a beauty discovered in imperfection.
As the collector argues, The forces within this piece are stabilized. At rest. So to speak, this object has made its peace with the universe. One experi- ences awareness of wu in such trash as an old stick, or a rusty beer can by the side of the road… Here, an artificer has put wu into the object. As a piece of contemporary art, which possesses no historicity but rather embodies the quality of wu, the jewellery provides a still point in the novel against the rampant inauthenticity of the market for historical objects.
In The Simulacra , two jug performers are the main protagonists of the story. The jug, a largish container usually made of stoneware with a narrow mouth and designed for holding liquids, was an instrument used in bands that played American folk music in the s.
A crime against the state. It gives too much access to anyone who has hostile intentions toward us. By inviting the quirky and eccentric performers in to provide entertainment that would be broadcast to the masses, the government had hoped to control the population with entertaining distractions but had instead been physically threatened. Elsewhere, in The Three Stigmata of Palmer Eldritch , one of the principal characters, Richard Hnatt, has a revelation while undergoing a radical medical procedure that produces effects similar to that of a rapid advance in human evolution.
Conversely, the pots also function as a way of registering when something is going wrong, such as when Emily undergoes the same evolution therapy as her husband but it backfires and she regresses on the evolutionary scale rather than moving forwards.
The resulting regression leads to redundancy in her ceramic designs, as she begins to repeat work she has created before without realising it. The pots in this story, which are strangely anachronistic in a world where far more advanced technologies are freely available, stand for a sense of authenticity and presence that contrasts with a bewilderingly futuristic world in which interplanetary travel is routine and advertisements are disseminated by cleverly trained insects.
In Flow My Tears The Policeman Said , the famous television host and entertainer Jason Taverner finds himself stripped of his fame in an alternate reality. And loved. Indeed, when Taverner meets the potter, he professes his admiration and immediately offers to feature her work on his television show.
Preposterously, he envisages having himself jump out of one her pots or convincing the audience, through the use of a false expert, that the work is superior to ancient Chinese ceramic ware, a suggestion against which the potter, Mary Anne, humbly protests. Does everything have to be on a great scale with a cast of thousands?
Again the ceramic object stands in opposition to the lightness, insubstantial- ity and mendacity of the world around it. Moreover, for every Mary Anne who eschews broader fame and engagement with electronic forms of entertainment, there are countless others who are actively engaged in bringing such objects to a market- place of practices which are part of a diabolical spectacle culture using entertainment as population control.
In both cases it is clear that historicity can never be a value in and of itself, and Dick does not seek to celebrate the historical quality of objects as a simple opposition to the futuristic world that he describes. Indeed, one of the signature qualities of his fiction is his scrambling of the oppositions between new and old, historicity and contemporaneity. One only has to look at the actual music played by the jug players in The Simulacra.
Their bizarre adaptation of down-and-out folk music instruments used by African Americans in the s to the purpose of performing compositions at the very pinnacle of classical musical culture by Schubert and Mozart is a baffling form of anachronism. It not only defies the imagination in terms of the technical skills required to pull it off, but is a wholly unexpected miscegenation of high and low, of different national cultures, and, of course, of historical periods.
Even though both jug music and Mozart seem obsolescent within the futuristic culture of the novel, the sense of anachronism is just as great as that between the two traditions that the jug players collide in their performances.
Here neither age nor newness is a value in and of itself. Joe Fernwright, who lives in a future world, is trained as a pot repairer like his father before him, thus continuing a venerable tradition. Just as he contemplates giving up his profession he is contacted by a capricious alien being called The Glimmung and offered a huge sum of money to repair pots on a distant planet. In the rather freewheeling and often comical narrative, ceramic objects are frequently invoked and a lot of technical or expert knowledge about different ceramic traditions from around the globe and their materials, glazing and firing techniques is paraded before the reader.
However, for the main part the ceramic objects in his writing are conduits for channelling authentic experience, cultural complexity and spiritual profundity. Stephanie was not an expert potter … The pot was unusual in one way, however. In it slumbered God. This secret would be the opposite of something that has always been and will always be, the opposite of invariance: something that would finally be different. Dick Raleigh, NC: Lulu, Dick New York: Citadel Press, , New York: Columbia University Press, , —9.
The Enterprise is in orbit around Janus VI. On the planet below a Federation mining colony is under conditions and consequences Hemp and war The establishment of a colony at Port Jackson in Australia in the s was set against the background of a series of major conflicts in Europe sparked by the French Revolution. These conflicts, following on from the American War of Independence, dominated the final decade of the eighteenth century and extended through to However, historian John Jiggens argues it had more to do with the central role of hemp in maintaining layers, veins and connections The succession of scripts, observations and commentary gathered here can be framed by something like an expanded geological diagram, similar to that advanced by Manuel De Landa in A Thousand Years of Nonlinear History.
Tell them, Mister Spock. Every fifty thousand years, the entire race dies, all but one, like this one, but the eggs live. She cares the maritime power of the empire. To produce that much hemp from the long vegetable fibers of cannabis sativa, acres had to be grown. Navel power was crucial to the United Kingdom during the course of the Napoleonic War when the United Kingdom blocked the English Channel in order to restrict French access to Atlantic ports and the Mediterranean. His approach characterises differen- tiating flows of matter-energy, organic and inorganic information, force and intensity, across a broad spectrum including rocks, plants, animals, genetic code, language, social, cultural and discursive practices.
Through accumulative processes — binding, connecting, folding, thickening, hardening — these flows yield formations across different durations, before dissipating again into transitory singularities or reforming. And when they hatch, she is the mother to them, thousands of them. This creature here is the mother of her race. She had no objection to sharing this planet with you, till you broke into her nursery and started destroying her eggs.
Then she fought back in the only way she knew how, as any mother would fight when her children are in danger. How could we? Russian hemp. Jiggens argues the crisis in hemp supply was a recurrent theme in British strategic thinking during the Georgian era, making hemp production as significant as oil has been for the last century.
He suggests that colonising Australia was not primarily motivated by the need to find a replacement prison but by the need for hemp. They digest rock, they tunnel for nourishment. They harbour ill will towards no one. Gentlemen, the Horta moves through rock the way we move through air, and it leaves tunnels. The greatest natural miners in the universe. It seems to me we could make an agreement, were offered free seeds and bounties, and convicts were employed in its cultivation and processing.
Despite setbacks, hemp production increased. By the turn of the century, new mechanical methods for harvesting and retting allowed hemp to be manufactured much more efficiently. However, this new era of industrialisation also brought about steel cable and steam-powered ships, which rendered much of the hemp industry obsolete. Hemp production went into decline as cotton became easier to produce and petrochemical industries introduced synthetic textiles such as nylon. Scramble for Africa In and , fifteen nations gathered for the Berlin West Africa Conference in order to settle existing territorial this formulation as adhering to a tetravelent structure, which sees the paired terms content and expression, and substance and form delineate a field within which the two intertwined movements pass.
It is through this articulation that Deleuze and Guattari avoid a simple dualist relationship between form and substance, as each operation is doubled such that both content and expres- sion have substance and form. They tunnel. You collect and process, and your process operation would be a thousand times more profitable. The Horta is badly wounded. It may die. I cured it. Of the nations present, none were African. Although the scramble for territory was driven by imperial rivalries, with the aim of excluding opponents from potentially lucrative regions, it also took place against the backdrop of a worldwide financial crisis.
Initiated by the residue of specific accumulations and codings at work in a particular process of territorialisation and deterritorialisa- tion. You know, the kind we use to build emergency shelters out of. Take a look. Tell her our proposition. She and her children can do all the tunnelling they want. Our people will remove the minerals, and each side will leave the other alone.
The Horta has a very collapse of the Vienna Stock Exchange in and marked by subsequent bank failures, this crisis is sometimes referred to as the Long Depression.
Numerous factors were at play: France was struggling with war reparations to Germany, while Germany saw unsustainable growth driving booming stock prices as a result of unification and the influx of capital. The period of deflation lasted until and remains the longest period of contraction in US history. The United Kingdom suffered until , as trade slumped is mining or slavery, the processes of accumulation, sedimentation and coding operate according to various supple and rigid processes of stratification.
For example, De Landa maps the intensification in food production and other energy sources that saw European countries digest the world as vast regions were turned into its supply zones. And after close association with humans, I find that curiously refreshing. In the Hekaras Corridor, an unstable region of space, the crew of the Enterprise discover that warp engines are damaging the fabric of space—time. Maybe I was taking the whole thing personally.
Overall, the period was characterised by falling prices, tariff wars and protectionist policies driven by fierce nationalism. Although the value of trade with Africa was small, during this time of significant economic downturn, the lure of potential wealth from African resources cast imperial expansion as a viable alternative.
Through a refinement of legal understandings, mining rights encode processes of segmentation that have given rise to a peculiar distinction between the soil of the earth and the minerals it contains.
We depend on warp drive. Rather, Deleuze and Guattari propose various paths towards triggering transformative energies and forces through which power might operate as life-affirming rather than life-denying. And I believe that these were all valuable ends in themselves. Now it seems that all this while, I was helping to damage the thing that I hold most dear. On a planet near New Sydney in the Sappora System, the Tigan family discuss recent events at their pergium mining facility.
Struggles continue in Africa over who should profit from its natural resources. The people of Nigeria see little benefit from their petro-chemical industry, which is domi- nated by multinational corporations such as Royal Dutch Shell and Chevron. Well, that came at a bad moment. The extraction of mineral reserves such as petroleum, natural gas, and precious metals requires a mining lease, a ruling first introduced in the Australian colonies in during the gold rush.
They offered us a way out and I took it. I did what I had to do. Obviously it was a mistake. There was a woman who needed a job with a salary, but without any actual work involved. In , the British Secretary of State issued a direction to the colony of NSW to include all mineral rights in future grants of Crown lands. In place of an image of thought that uncovers or constructs universals, or establishes values, the layering of geophi- losophy is constituted by a double becoming, a zone of exchange that refuses to see creativity as something essentially human and therefore non-natural.
So I started making the payments. The company. In regarding the country as terra nullius, and ignoring all pre-existing social laws, cultural practices and centuries of land management by Indigenous peoples, the land and the wealth embedded within it were automatically vested in the Crown. The concept of terra nullius was overturned as a consequence of the second Mabo case in , where legal recognition of common law title to land on the Murray Islands in Torres Strait was successfully argued.
The subsequent Native Title Act of recognises the rights and interests to land held by Indigenous people under their traditional laws and customs, including the right to negotiate access to their land. Whether the outside is another race, entity, territory, time, or as Deleuze and Guattari find in a short story by H. In the briefing room on the Starship Voyager negotiations between a Talaxian colony and a mining operation are taking place.
The complex relationship between freehold and leasehold rights is also dramatised in the context of coal seam gas extraction rapidly developing in the eastern states of Australia. The Talaxians have found a way to produce a lot of geothermal energy. Maybe they could share it with you. Accessed 6 December Edinburgh: Edinburgh University Press, , 80—1.
Robert Heinlein, Starship Troopers ; Isaac Asimov, Foundation Trilogy —53 During my early teens in the mid- to lates, I eagerly read every science fiction novel I could borrow from the several libraries I belonged to.
With Arthur C. Clarke whose stories seemed wooden and whose ideas were clearly leaden even to a hyper-impressionable thirteen-year-old , Heinlein and Asimov were of course the Big Three science fiction writers of the period, as Wikipedia kindly reminds me. Incompletely confined by my surroundings, I felt safe by being able to float over tables and invisibly hide out just below the ceiling, peer through walls and fly across roofs. Then the inevitable happened: I grew up and it was neither socially acceptable to fly nor could I remember being able to do so.
Second, the characters in his narratives move slowly, like ceremonial images ceremonial in the precise sense identified by Walter Benjamin rather than like the heroes and heroines of other books. Finally, his novels suggest that they are a microcosm of a much larger narrative and they could, like the other books and movies in my list, be re-entered at their middle, end or beginning, depending on how orderly my continuous, looped, repetitive re-readings.
The result: an ethnography of types as his characters migrate from world to world. Philip K. Now, faced with an insoluble choice. Who do I like more: the Beatles or the Rolling Stones?
Psychedelic music and proto-cyberpunk science fiction emerge around this same time: the late s. Both are essentially very dark — very noir — and both had a considerable, subterranean influence on what would become contemporary art. The secret: their contempora- neity. His figures are self-consciously self-conscious types. It cannot be said to be true; simply that it can be sustained without contradiction … You make this hypothesis about real life, rather than the memories of dreams.
We can recognise this disentanglement in Philip K. Dick, but at the same time acknowledge that his vision of impersonality and process is not particularly idealistic. Houellebecq imme- diately notes that his character Michel does not know anything about Buddhism and therefore could not answer.
Frank Herbert, Dune If there can be a complete parallel universe, this book maps it out. Both paint the universe in bright, shiny, clear, hard light. Hard light implies the entropic devolution of story into archive, into database fragmentation, and thence into a very contem- porary model of cosmological organisation.
Dune shows us the coincident emergence of body, speech and mind but not of corporeality nor, even less, of dysfunctional pathology. This is quite exhilarating. It might be plausibly argued, then, that Dune is a quasi-Buddhist demolition of the concept of the sublime: the latter is nothing but a category error. But it would be a misinterpretation, given that we have also pointed to the shifting relativity of flux-like experience, and to the constant mental chatter and ceaseless motion depicted in Dune.
A further mental image underlies the book. The image is almost omnipresent in science fiction, contemporary art, art cinema and popular cinema, not to mention news photographs, during the later s. Explosions might seem at first to be the opposite of social theory or psychedelia, but play a videotape of an explosion backwards and you see a model world created.
Dune is a dispersed, kaleidoscopic scatter-piece, in which uncontained, semi- autonomous histories and collective memories tumble through centuries as their angelic Benjaminian debris breaks worlds apart.
The point is less that a millenarian social explosion — which is what Dune is about — is sexy because it is dangerous than that an explosion is coherent, since its parts move fast.
This is to say that such an explosion is hard to see or grasp and impossible to hold together. The only way that such a world view of destruction, matrix, and interpenetrating sight could be represented is through the representa- tion of the invisible beyond the individual life.
It is clear that he intended them as a disguise that posited imaginative power and extravagance as true. That was a psychedelic, navigational cocktail, already familiar from science fiction. Castaneda presented, quite simply, one of the most breathtaking, extended displays of fireworks I had seen in a long time.
This broken narrative cannot be empha- sised too much. His broken memories produce the illusion that the workings of obliterated, unrecovered memory govern the world. This does not mean that a surrealist visual unconscious governs the world, but that erased memory collects pathos.
No credits, no television program, we have no idea what we are looking at but we know, increasingly emotional, that this agonisingly slow science fiction film is indelibly changing our sensibilities.
It was a room I had always wanted to enter and where he was moving freely and fully at ease. As is well known and endlessly discussed, Stalker is composed of small, telling pauses nested within long camera takes.
What this means is that cinema is a first-order experience and still images are a second-order experience. They are, whether paintings or photographs, a special case of cinema held in a virtual space of recollection, pointing to a recollected past. A single image derives from a virtual recollection of a panorama unfolding in time. In ceremonial images, people do not blink, nor do they have an autonomous existence; they are recalled as formulae rather than people.
Conclusion So far, the idea that science fiction is non-fiction has been framed obliquely through the equation that science fiction is ficto-documentary. Narrative is pretty much a decoy, as is cathartic resolution and allegory. Empathy for a character is the least important element in the face of our struggle to work out a point of view in a field of superficially incoherent surface incident. To move forward, both Carlos and Paul must constantly concentrate on peripheral vision, as must we.
This results in their decorporealisation and not their embodiment. We are spectralised. We are turned into phantoms. We walk through walls. We become invisible and we fly across shimmering spaces and times. Accessed 25 December Frank Wynne London: Vintage, , Houellebecq, Atomised, , emphasis in the original. Accessed 26 December Corrin ed. London: Serpentine Gallery, , 9—25, Melbourne: National Gallery of Victoria, , 30—7, Despite some degree of good intention, the outcome proves disastrous.
Fiasco might be understood as a spatialisation of what, in philosophical terms, constitutes an attempt to exceed the limits of human subjectivity. At the same time, it is a topical allegory of the specific geopolitical situation in which Lem had found himself.
Lem wrote Fiasco in , at a stage in his life when most of his writing was philosophical. He accepted an advance, the first in his career, to write the novel.
It was written in East Berlin, Lem having fled Poland along with around , others in the economic aftermath of Polish Martial Law, introduced in as a means of crushing political opposition. Except that heaven has turned out to be damned expen- sive. The whole thing could have been set up better.
The bookkeeping is a nightmare. Payments for those who die are hefty, but less money than it would take to reduce the danger. The first stage of Fiasco describes the plight of the astronaut Parvis. In attempting to cross the inhospitable terrain of Titan in a gigantic strider in search of his former supervisor Pirx,3 Parvis finds himself trapped in his inadequately designed transport and forced to activate an emergency cryogenic capsule.
He has no guarantee of survival, since reanimation from cryonic stasis has not yet been techno- logically developed. Due to human error again only one of the salvaged bodies can be restored to life, pieced together from bits of all the others. The future Lem fashions in Fiasco is one in which genetics exist but DNA is not applied for identification purposes; it is instead a society of height- ened forensics.
Government funding of space travel is unlimited. Terms such as depression, fatalism and claustrophobia have been rendered obsolete. There is no concept of a shortage of resources presumably since humans are mining other planets.
We find ourselves meeting a newly resurrected protagonist who may be Parvis or may be Pirx, the commander for whom he was searching. In his new life, the resurrected man assumes the name Tempe.
To be a man is to be a particular thing, it does not matter that it is a living thing. To be a brother or a son — that is a relation.
He is retrieved and reanimated by the ship Euridice, named for its intended role in a sidereal shift to another dimension. The Euridice deposits the Hermes, a smaller vessel, at the event horizon through which it will travel sidereally to another galaxy. We are made privy to very few aspects of their personal lives, but instead are offered a mode of characterisation that sits between the claustrophobic, quotidian banality of their existence aboard the vessel and their philosophical musings about the mission.
The sublime influence of God here reaches so deeply into the everyday that the two realms of the sublime and the everyday are not only actually unseparated but basically inseparable. It makes sense then that post-anthropocentric thought should seek to do away with the sublime altogether. The danger is that we lose the sense of our real limits whilst believing we are dismantling them.
Fiasco draws upon the common binary between man and computer as a means of opening a space for thought about the ethics of seeking to step outside human subjectivity. One can feel compassion for the agony of an individ- ual, of a family, but the extermination of thousands or millions of beings is a numerical abstraction whose existential content cannot be absorbed. A large proportion of Fiasco is made up of these interminable speculations.
It could decline and regenerate itself many times, paying for this self-destructive inertia with billions of lives. The establishing of interstellar contact would not rank high on its list of priorities. Recently, nasa satellites Ebb and Flo, which since have been orbiting the moon and mapping its gravity and surface, came to the end of their mission and were duly retired.
Attempting to think beyond the limits of human subjectivity moves thought beyond ethics. With each slain being an entire world dies. For that reason arithmetic provides no measure for ethics. Irreversible evil cannot be measured. What they understand, in fact, is only that a theory agrees with the experimental results, with measurements. Physics, my friend, is a narrow path drawn across a gulf that the human imagination cannot grasp. Thus, it held the rank of both tool and overseer. Concrete foundations crack and collapse, striders tumble in unexpected terrains and spill forth their hydraulics, emergency cryogenic capsules fracture the skull in the process of freezing.
Lem presents us with a space travel that, in spite of ideal funding conditions and seemingly unlimited material resources, is reduced to the ad-hoc and the jerrybuilt in the face of contingency. As such it might be thought of as illustrating a failure to enact the transcendental subject. Humanity, generally speaking, is deficient in reflexivity about its own inadequacies. This is a leitmotif of Fiasco. Bristling with mythic referents, it is as though the overseers of the voyage have armoured its components with a carapace of ancient stories in order to broach the future.
Philosopher Quentin Meillassoux shares with Lem the project of contemplating being beyond human thought, though their respective projects are embedded in very different lines of intention. Lem takes us towards an unimaginable future; Meillassoux takes us towards an unimaginable past. We might also consider this question of inward and outward as it pertains to artists — inner reflection as against the expanded field.
The problem lies in believing that one might constitute an absolute solution that negates the other, for it is the dialectical opposition that enables growth, that necessitates putting oneself at stake. Art is already outside ontology. He argues that we need to extract ourselves from our solipsism. I would argue that, rather, we need to collectively become capable of recognising our solipsism, and integrating it into a complexity that is not ourselves.
Perhaps the most disturbing aspect of Fiasco is that there is not a single female character in the entire book. One wonders how the story might have changed if there had been female crew members. Accessed 15 January Ray Brassier London: Continuum, Emphasis in the original. As a topographical narrative, Ostia Lido marks the retreat of the Tyrrhenian Sea from antiquity to modern times, straddling the mouth of the Tiber River, which continues through to central Rome.
Clean and bristling with the school- excursion positivity and funding which Italy reserves for the extended restoration fantasy of its beni culturali a program which collects and recycles endless tourist dollars while contemporary art receives little government support , its past is activated and alive, an immersive and interactive tracing of daily life in ancient Rome.
Pasolini shares this relationship to abandoned and unpopulated spaces as potential sites of social and archaeological value with Robert Smithson, and their contemporaneous investigations into the location of time and movement within ruins, both ancient and industrial, share similarities in form and historical span. Ashphalt Rundown , filmed in the outskirts of Rome, and Spiral Jetty contextualise the works as both an intervention in and a dialogue with the landscape.
This framing of landscape as simultaneously archaic and contemporary, as an historically ambiguous descriptor of time and space, places Pasolini and Smithson within the collective energy of the late s, and specifically within a broader tendency to explore representations of space and its relationship to temporality. This movement through time is established rhetorically, by representing the connectedness of images and archetypes through montage, proximity and overlap.
Absorbing units of quotation from art and history into an elaborate form of collage, Pasolini superimposed references and realities, flattening and fixing them into a singular image.
The montage or edit is the device that defines the movement and the form of this exchange between times. Through abrupt cuts and ruptures, narrative objects are pushed backwards and forwards through historical time, establishing temporal relations between archaic and modern forms.
As a process, this event — time travelling through the subject, rather than the subject travelling through time — is enabled through the fundamental technic of cinema, the edit and its relativity to the fluid continuum of film in time, and in turn, the way this continuum forms an analogue with human consciousness.
Accessed 15 July At your art school were some older staff — frumpy women who still wear Cyndi Lauper glasses, and stodgy bearded oafs dressed as if they work outdoors. In Richmond. Your parents supported your choice. They subscribed to Arts Hub and knew that art was part of the culture industry. What mysteries belie the truths we once held to be self-evident? Social Science. Hunter Publisher: Routledge Reads.
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