Download Rewiring the real : in conversation with William Gaddis, by Taylor, Mark C.; Gaddis, William; Powers, Richard; PDF

By Taylor, Mark C.; Gaddis, William; Powers, Richard; Danielewski, Mark Z.; DeLillo, Don

Electronic and digital applied sciences that act as extensions of bodies and minds are altering the way in which we are living, imagine, act, and write. a few welcome those advancements for bringing people towards unified attention and everlasting lifestyles. Others fear invasive globalized applied sciences threaten to spoil the self and the realm. even if feared or wanted, those thoughts impress feelings that experience lengthy fueled the non secular mind's eye, suggesting the presence of a latent spirituality in an period mistakenly deemed secular and post-human.

William Gaddis, Richard Powers, Mark Danielewski, and Don DeLillo are American authors who discover this phenomenon brilliantly of their paintings. enticing each one in dialog, Mark C. Taylor discusses their subtle illustration of latest media, communications, info, and digital applied sciences and their transformative results at the self and society. He makes a speciality of Gaddis’s The Recognitions, Powers’s Plowing the Dark,...

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Extra resources for Rewiring the real : in conversation with William Gaddis, Richard Powers, Mark Danielewski, and Don DeLillo

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Dedicated to the new, modernism can become itself only in and through its own self-negation. The doctrine of the new, however, eventually becomes old, and, when the new becomes old, the old can return anew. In different terms, modernism harbors postmodernism as a condition of its own becoming. The “originality” of postmodern writers and artists is their avowed unoriginality. Their duplicitous works are self-confessed counterfeits of counterfeits, which no longer mask originals. With nothing new to say, artists recycle the cultural debris left by their predecessors.

I did not realize it at the time, but I was also learning that religion is most interesting where it is least obvious. Over the years, I have continued to take photographs, returned to painting from time to time, created sculptures, and undertaken big projects that fall somewhere between gardens and earthworks. I have written books about art and published elaborately designed works that border on art. 1 My professional life took me in what I thought was a different direction. Having become interested in religion and philosophy while an undergraduate, I eventually completed an American doctorate in religion and a Danish doctorate in philosophy.

For the psychologist, as for the alchemist, sublimation is therapeutic even if not always salvific. In the era between belief and unbelief, Gaddis asks whether art can redeem life any better than ancient myths and rituals. By the latter half of the twentieth century, the restless striving of the Faustian subject had, for many artists and critics, led to a sense of exhaustion. Paris, the capital of modernism, which, according to Gaddis, was “synonymous with the word art,” “lay like a promise accomplished” (73, 63).

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