Transmodernism, Marxism and Social Change
Transmodernism, Marxism and Social Change:
MIKE COLE Bishop Grosseteste College, Lincoln, United KingdomABSTRACT
The author first briefly outlines what he considers to be the defining features of
transmodernism and its relationship both to postmodernism and to Marxism. He then
suggests that transmodern interpretations of the legacy of the European invasions of the
Americas are illuminating, as is Marxism, in providing an understanding of how the
imperialism in which contemporary US foreign policy is currently engaged has a specific and
long-standing genealogy. However, he argues that the Marxist concept of racialisation is
more convincing in explaining the source of violence against the Other than the
transmodern positing of ‘basic narcissism’ as the source. Next, he contrasts the transmodern
perception of liberal democracy with Marxist analyses of democratic socialism. After this, he
challenges transmodernism’s conception of Marxism as an imposed and utopian philosophy
locked within modernism. He concludes with a consideration of the political and economic
choices open to us, and, with respect to these choices, the implications of both
transmodernism and Marxism for sustaining resistance to neo-liberal capitalism and US
imperialism within teacher education.
Transmodern ideas are relatively new to academia in the North. Indeed, it is still relatively difficult
to get copies in English of the publications of its leading advocate, Enrique Dussel. For me,
transmodernism’s defining features are:
• not so much a way of thinking as a new way of living in relation to Others;
• anti-Eurocentrism;
• anti-(US)imperialism;
• analogic reasoning: reasoning from outside the system of global domination;
• analectic interaction: listening to the voices of ‘suffering Others’ and interacting democratically
with suffering Others;
• reverence for (indigenous and ancient) traditions of religion, culture, philosophy and morality;
• rejection of totalising synthesis.
Transmodernism, Marxism and Social Change
Gestalt Approaches to the Virtual Gesamtkunstwerk
Gestalt Approaches to the Virtual Gesamtkunstwerk.
AbstractThe basis KeywordsArt, Introduction
|
| Classification | Examples | Re-synthesis |
|---|---|---|
| Medium | eg. Arts that use words, tones, stones, paint on canvas, human bodies etc. |
Synthesised media simulating all types of concrete media. |
| Dimension | eg. Arts that use space, time, or any other dimension for their main sphere of operation. |
All dimensions folded into each other. |
| Purpose | Arts that are necessary, arts that are useful and arts that entertain. |
Multiple purposes. |
| Residue |
|
Productive art that leaves behind a concrete product that simulates other concrete products. |
| Semiological determinacy |
Painting and poetry can evoke determinate associations, Music and Architecture usually do not. |
Blended referential and non referential signification. |
Table
|
1.2 Re-synthesis
A brief
analysis of the third column of table 1.1, reveals some
of the qualities and problems inherent in the
Gesamtkunstwerk. In particular it may be observed that
the re-synthesis of some classes may be more difficult to
achieve than others. Of the five classifications
presented, the medium and the residue are – in this case
- prescribed by the technology used for reproduction.
This technology can incorporate enough information to
accomodate multiple simultaneous purposes. The treatment
of mixed signification presents some problems during the
production of the Gesamtkunstwerk, given the strengths of
existing visualisation software, although it is not too
difficult to resolve theoretically. The fusion of
dimensional qualities constitutes the major difficulty in
the conceptualisation of Gesamtkunstwerk.
1.3
Alternative Perspectives
There is no
mathematical formula with which to translate one
dimensional time into three dimensional space. Ultimately
it is not necessary to approach the design of artistic
works concerned with relating disparate artistic
phenomena by using an approach based on the logical
positivism philosophically fundamental to the natural
sciences. One of the great commonalities of all artistic
disciplines is a concern with the subjective perception
of human beings. Because science posits no explanation of
the subject -being concerned only with physical objects -
alternate schools of philosophy such as existential
phenomenology generally offer more useful models of human
consciousness with which to develop art doctrine. In the
words of Henri Bergson, “Our perceptions give us the
plan of our eventual action on things much more than that
of things themselves.”[1]
2 Das
Gesamtkunstwerk
2.1 Wagner’s
Gesamtkunstwerk
The idea of
the Gesamtkunstwerk or “great work” was first
proposed in the late 1840’s by Richard Wagner in his
paper, The Artwork of the Future. [2]
For Wagner, his music theatre works realised the dream of
the Gesamtkunstwerk by bringing together the great arts
of Painting, Music and Drama as a unity. He expresses a
poor opinion of “sister dance”, and the stark
functionality of his Bayreuth theatre may be seen as a
testament to his ideas on Architecture as art. Despite
Wagner’s artistic preferences, the definition of the
Gesamtkunstwerk stipulates that it be a fusion of all
arts; qualitative evaluations of any discipline’s right
for inclusion aside. Therefore, if the arts are to be
fused, then aspects of the Visual Arts, Architecture,
Dance, Music, Sculpture and Theatre should all be present
in equal measure before a work should be considered a
Gesamtkunstwerk.
2.2
Approaching a Definition
At this
point it becomes necessary to attempt to define or
perhaps re-define what the Gesamtkunstwerk actually is.
Ultimately Wagner’s Gesamtkunstwerk was not a fusion of
all arts but a combination of a few. If the “great
work” is truly a fusion of all arts, would this not
demand the semiological ambiguity and a representation of
dimensional folding described in section 1.1? This was
believed to be the case during the last decades of the
nineteenth century as the idea of the Gesamtkunstwerk
evolved within the Zeitgeist of time and space that
permeated European artistic thought at this time. In the
spirit of that age, the Gesamtkunstwerk was believed to
constitute a fusion of all arts, that would exhibit
profound aesthetic resonance and even present itself as a
metaphysical epiphany. Cubism, Abstract Art and
Suprematism are all examples of such concerns in painting
while spatial and morphological concerns in Music, and
temporal concerns in Architecture also emerged as a
result of this “culture of time and space.” [3]
Two young
Parisians greatly influenced by these ideas were the
architect Le Corbusier and the composer Edgar Varese.
These two men were prominent in the creation of an
exhibit for the 1958 world fair that is often regarded as
both a forerunner of Virtual Reality and as an example of
the Gesamtkunstwerk. “Although a little building of
brief life span, the 1958 Philips Pavilion, with its
spectacle of amplified sound and rhythmically
orchestrated light and colour, was a landmark in
electronic media technology that concomitantly tested the
limits of Architecture, both concrete and virtual. When
seen against the buildings and arts of its time, when
seen as Le Corbusier’s synthesis of the arts, the Philips
project assumes justified importance. While in some ways
neither the Architecture nor the spectacle fully realized
its complete potential, in other ways all aspects of the
project were prescient. If the Philips project did not
locate the precise point at which all the arts -
traditional and electronic -would intersect some time in
the future, it did provide the unquestionable directional
signs toward that point.” [4]
Above:
Le Corbusier shielding Edgar Varese from Louis Kalff of
the Philips corporation as they stand beside the
completed Philips Pavillion in Brussels, 1958.
2.4 A New
Approach
At the turn
of the twentieth century, the cognition of art was
investigated by the German Philosopher/Psychologist,
Christian von Ehrenfels. Ehrenfels was a Professor at the
German University in Prague from 1896 until 1925. His, On
Gestalt Qualities [5] of
1890 was a reflection on “what complex perceived
formations such as spatial figures or melodies might be.”
[6] The
paper began with a terminological proposal that the
German word “Gestalt”, which means shape,
figure or form, should be generalised in a certain way.
For Ehrenfels, a Gestalt quality, “is not a
combination of elements but something new in relation to
these, which exists together with their combination, but
is distinguishable from it”. [7]
Ehrenfels recognised that Gestalten involving spatial
shape could be analogous to Gestalten involving objects
that have a complexity that is extended in time.
The basis of
Ehrenfel’s approach did not involve a reduction of either
melody or spatial figure to physical attributes in order
to derive commonality. He regarded these simple artistic
articulations rather as phenomena, and as such their
structures were better understood as they presented
themselves to consciousness, without recourse to theory,
deduction, or assumptions of other disciplines such as
the physical sciences. According to this approach,
perception initially presents a unified whole or Gestalt
which then reveals layers of elements in structured
relationships. This approach to knowledge is based on the
ideas of Phenomenology, and with its various derivative
schools of thought, Phenomenology constitutes a highly
effective philosophy to employ in the creation of
Gesamtkunstwerke. It provides the only tool with which to
solve the problem of dimensional translation intrinsic to
the successful realisation of the Gesamtkunstwerk. The
Gestalt tradition in particular suggests various means by
which to create strong associations between aural and
visual phenomena in order to create profound illusions of
unity.
3 Gestalt Psychology
3.1 The
Berlin School
The
emergence of Gestalt theory as a general theory of
psychological phenomena, processes and application is
recognised to have taken place in Berlin around 1912. The
work of Max Wertheimer, Wolfgang Kohler, Kurt Koffka, and
Kurt Lewin at this time established Gestalt Psychology as
a major field of perceptual psychology. Drawing on
Phenomenology as it does, Gestalt theory is opposed to
the elementistic approach to psychological events as in
associationism, behaviorism, and psychoanalysis.
Methodologically, it involves a meaningful integration of
experimental and phenomenological procedure and
approaches phenomena without a reduction of experimental
precision.
3.2 Gestalt
Grouping
In his Laws
of Organization in Perceptual Forms, [8]
Max Wertheimer explains that during the cognition of
sensation, phenomena are initially parsed into groups.
These groups are made on the basis of attributes such as
those set out in table 3.1.
| Proximity | Things that are are located in close proximity to each other are inferred to be a group. |
|---|---|
| Similarity | If objects are similarly spaced, then those of like shape will be regarded as being related. |
| Symmetry | The random arrangement of most objects in nature means that those that exhibit symmetry will be seen as being related. |
| Good Continuation |
If objects are arranged in such a way that they are collinear, or appear to continue each other, they are grouped as a whole. |
| Common Fate |
Objects that move together are most likely connected in some way. |
Table
|
Gestalt
groupings provide artists with a powerful means to create
relationships between spatial phenomena that have audible
or visible attributes. Of the five grouping types shown,
Common Fate is the most powerful type. A good example of
grouping disparate phenomena using common fate in the
present context would be to synchronise the motion
through space of a source of light and sound.
3.3
Isomorphism
Gestalt
grouping is not the only technique offered by Gestalt
Psychology in order to create low-level associations
between phenemena sensed by different sensory modalities.
A visible structure and an audible structure that share
the same structure of operations and relations are said
to be “isomorphic”. In Gestalt psychology, a
one-to-one correspondence between elemental attributes is
not essential for relationships to be discerned;
structural similarity is another powerful form or
relationship. Such isomorphism may be regarded as a means
by which to fold dimensional material within spatio-temporal
Gesamtkunstwerke. This permits works to take forms other
than the tubular representation of space-time permitted
by an approach based on physical sciences.
4.1 The
Silence of Speculation.
It is
interesting to speculate at this stage how the
proliferation of Gesamtkunstwerk as Virtual Reality will
influence traditional art idioms. Speculations regarding
the impact of Virtual Reality on arts have been published
at an increasing rate over the last decade. Often however
these speculations fail to consider that design aspects
of more than one or two disciplines are involved within a
Virtual Reality. The dominance of occularity has meant
that many art theorists have tended to envisage Virtual
Reality as being as silent and mute as the cinematic arts
when they were first developed. Bound to conventions -
technological and otherwise – established during the
silent era, music is still part of the post production
process in most cinematic production.
Virtual
worlds can employ the power of musical technique to
effect the perception of temporality. Furthermore – the
idea of being “immersed” is itself largely
derivative of our perception of the world as we hear it -
hearing is the only sense which provides us with a
circumambient sense of space. Ultimately, without the
integration of sound as an integral design aspect,
Virtual Reality will resemble a gaudy electronic version
of a late 20th century shopping mall – complete with
piped Music.
4.2 Music
In Virtual
Reality sonic art has the chance to return to splendour.
This will be largely dependant on sound art practitioners
coming to terms en masse with the compositional
implications of synthetic 3D sound pieces. In most Music,
the source of a sound is usually static spatially. At a
concert of orchestral Music, the string section doesnt
fly through the air as they bow, and the brass section
doesnt bob up and down ten feet below your chair. At a
rock concert, although the guitarist might fly overhead,
usually the P.A. system doesnt. At home, it is most
common to listen to Music using two speakers which allow
content that may seem to move across the stereo field. As
people become more used to Gesamtkunstwerk in which the
motion of a sound source becomes an important and
expected component of a piece, listeners will come to
desire this in situations where there is no visual media.
Musicians
will change the way they conceptualise sound art pieces
to bring Music closer to the other arts. The sonic
pallette available to Musicians in the 21st century will
render many traditional lattice based approaches to Music
composition obsolete. Musicographical [9] categories
of musical events such as texture, hue, intensity, mass,
volume, and density will come to dominate categories such
as pitch, rhythm and harmony which are functionally
dependent on instruments with static and limited
colouration. The mnemonic system of Music notation will
continue to serve the anthropological function of
preserving musics which rely on it, but will largely make
way for communication via recorded media and graphic
systems of sonic representation in technologically
advanced cultures.
4.3
Architecture
Architecture
will not need to be a mute and static environment. Sounds
may not need to be attributable only to concealed
speakers: they may become integrated aspects of a liquid
Architecture that integrate sounds as installations. This
may draw on models developed in the virtual context.
William Mitchell predicts in his book City of Bits that
there will be “profound ideological significance
in the Architectural recombinants that follow from
electronic dissolution of the traditional building types
and of spatial and temporal patterns.”[10]
Using the
perceptual-conceptual bridges of Gestalt Psychology,
cross fertilisation between artistic disciplines could
accelerate greatly. This could be particularly so between
the arts of time and space. Architects will find new ways
of drawing on Musical form to create structures that are
in some ways isomorphic to Musical compositions. Perhaps
much like Music, Architecture will abandon paper as a
design medium and move entirely into the digital domain.
5 Conclusion
It is
traditional amongst romantic thinkers to construe
Gesamtkunstwerke as symbolic representations of a higher
truths – as though a successful synthesis of the arts
will represent for humankind phenomenally the profound
and unifying truths that science seeks to define
mathematically. Were this the case, it would be an
ambitious exercise to attempt the definition of an art
that by all other dialectical approaches still defies
description. All such ideas are of course fundamentally
conjectural. That Gesamtkunstwerke have any definitive
objective qualities at all is also open to debate. The
interpretation of art is intrinsically subjective – and
as already noted – science and its philosophy posit no
model of the subject for artists to draw on. This is
indicative of the usefulness of Gestalt Psychology -
Phenomenology can explain the existence of science, but
science cant explain Phenomenology. Yet to completely
absorb the phenomenological perspective requires almost
an inversion of the dominant occidental world view. For
many that wouldnt be such a bad thing.
6 Footnotes
[1] Henri
Bergson. Creative Evolution. trans, Arthur
Mitchell. New York: H. Holt and company, 1911.
[2]
Richard Wagner. “Artwork of the future.” in Correspondence,
Selected letters of Richard Wagner. translated and
edited by Stewart Spencer and Barry Millington. London :
J.M. Dent, 1987.
[3] Stephen
Kern, The culture of time and space 1880-1918.
Cambridge, Mass.: Harvard University Press. 1983.
[4]
Marc Treib. Space Calculated in Seconds.
Princeton, N.J. : Princeton University Press, 1996. p.33
Barry Smith. Foundations of Gestalt Psychology.
Munchen, Wien: Philosophia Verlag, 1988. pp. 83-117
Max Wertheimer. “Laws of Organization in Perceptual
Forms”. (1923) in Ellis, W. A source book of
Gestalt psychology. London: Routledge & Kegan
Paul. (pp. 71-88). 1938.
[9] Carlos
Palombini. Pierre Schaeffer’s Typo-Morphology of Sonic
Objects. PhD Dissertation, University of Durham, School
of Music, 1993. p. vi
[10] William.
J Mitchell. City of Bits: Space, Place and the
Infobahn, Cambridge, Mass: MIT Press, 1995. p.
7
Bibliography
Arnheim,
Rudolf. New essays on the psychology of art. Berkeley
: University of California Press, 1986.
Bragdon,
Claude. The Beautiful Necessity – Architecture as
frozen Music. Wheaton, Ill. : Theosophical Pub.
House, 1978, (c1939).
Martin, John
H. “Coding and Processing of Sensory Information”
in Principles of Neural Science, edited by Eric R
Kandel, James H. Schwartz and Thomas M. Jessel. London:
Prentice Hall, 1991.
Mattis,
Olivia. Edgard Varese and the visual arts. Diss. (Ph.
D.): Stanford University, 1992.
Ong, Tze-Boon.
Music as a generative process in Architectural form
and space composition. Diss. Rice university:
Houston, Texas, 1994.
Priest,
Stephen. Merleau-Ponty / Stephen Priest. London :
Routledge, 1998.
Toy, Maggie.
ed. Hypersurface Architecture II. Great Britain:
John Wiley & sons, 1999.
Yi, Dae-Am. Musical
Analogy in Gothic and Renaissance Architecture. Diss.
University of Sydney: Sydney, Australia, 1991.
8 Online
Resources
- Gestalt
Psychology
- Wertheimer,
Max. “Laws of Organization in Perceptual
Forms” - Society
for Gestalt Theory and its Applications (GTA) - Mach
and Ehrenfels: The Foundations of Gestalt Theory
Philosophy
and Epistemology
- A
Miniature Library of Philosophy - Cognitive
Science Web Resources - Introduction
to Epistemology - Online
papers on consciousness
Neuroscience
- How
the Human Brain Developed and How the Human Mind
Works - Neuroanatomy
Websites - Neuroscience
for Physician Assistants
Virtual
Reality
Artwork of the Future – Wagner
Seeing that the literary remains of noted musicians have
repeatedly been collected and published after their death, I
suppose that the first thing I ought to do, in the collected edition
of the products of my authorship, is to justify myself in face of the
reproach, that I still live. What in their case has been welcomed
as an act of piety, might easily, in mine, be reckoned to my
vanity. Whereas those happy dead cared nothing, what might be
thought of their literary jottings : it seems that I am busied for
the earnest consideration of my own. It would be hard for me,
to contradict this. Whosoever thinks necessary to read into this
confession the avowal of a weakness of my artistic works, is welcome
to follow such need to his heart’s content ; for, in the long
run, if my works do not speak out clearly for themselves those
of my art, by correct performances, and those of my literary labour,
by being properly understood it does not really make much
difference whether folk think necessary to lay my weakness in the
one direction or in the other.
Whether the most unusual efforts will succeed in helping my
artistic works to a true life in the nation’s midst, by the constant
guarantee of correct representations, I leave to the decrees of Fate ;
yet I believe that I shall supplement these efforts, if, on the other
side, I take care that at least the labours of my pen shall share in
an advantage common to all literary products, that of lying clearly
and comprehensively before the public. This care has naturally
come to me since I have observed around me a growing earnestness
of interest in my art-writings, while at like time I could not
but see the disadvantages inseparable from the fact, that in these
writings I have not stepped before the public in well-calculated
continuity, but at very diverse times and under the most various
of promptings to their composition. Since, however, even the
most heterogeneous promptings have always woken in me the one
motif, which lies at the bottom of my whole, howsoever scattered
literary exertions, I here felt the need of a carefully-ordered and
complete reproduction of my addresses (Mittheilungen), whereof
many have stayed altogether unknown, and the most have been
only regarded in that fugitive light which attaches to every
” Brochure.”
The wish to arrive at such completeness provided me, again,
with a sort of psychological method of arrangement, by help of
which the sympathetic reader might come to see how it was that
I lit, at all, upon the path of penmanship. Although, eventually, a
correct account of my life itself would be the only thing that could
give full information hereon, yet for the present I have seized on
the advantage of a chronological arrangement, in accordance
wherewith my essays will be laid before the reader in the order of
their origin. By this plan I have also won two other privileges,
in virtue of which I hope to gain a gentle handling at the judgment-
seat both of our art-philosophers and of our poets by profession.
To wit, I have escaped the temptation to cobble together
my piecemeal art-writings in such a fashion that they should
assume the appearance of an actual scientific system a course
that might easily have been treated by our professional aesthetes
as unblushing impudence ; while on the other hand, seeing
that I was making up a kind of day-book of all my labours, I
could thus strew-in my poems in their proper biographic place,
instead, maybe, of binding them up in a separate volume a proceeding
that would certainly have roused the contemptuous wrath
of our professional poets, and drawn down on me the charge of
placing my “opera-texts” on a level with poesies in which the
music (as in that provincial performance of the Dame Blanche) is
replaced by a “lively dialogue and a choice diction.”
What circle of readers it is, that I now shall have to stand
amidst with this collection, cannot but be of the greatest moment
to me, not only for the verdict on my own exertions, but also for
that on the elements which are coming to the front in the present
stage of our German cultural evolution. People have begun to
take me seriously, in a sphere where nothing is really taken
seriously : namely in that of our scientific-posing Belles lettres, in
which philosophy, natural science, philology, and especially poetry
are handled with a flippant wit, excepting when an incomprehensible
reason exists for some measure of unconditional recognition.
I have noticed that this system of valiant calumny bases itself on
the assumption that the writings and books reviewed are not read
by the critic’s readers. On the other hand, those persons on
whom stage performances of my dramatic compositions had
worked with a stimulating effect, felt prompted to an earnest
reading of my writings. Many of these hearers, however, have
not been able to conceive why I should write essays on an art
which I did best to practise as an artist. Only in quite recent
times have I met several persons, and especially among the younger
generation, who have understood this thing too : why I wrote
about my art; for they consider that they have found in my
writings a better explanation of the problems started by my artistic
creations, than in the emissions of such who themselves can make
nothing in the way of Art. Here one or two have come to the
belief, that he who understands a thing, can also speak best about
it ; as, for instance, that he who himself knows how to conduct, is
also the best man to show others how to conduct.
Now it would be interesting, if the verdict upon Art should fall
back into the hands of those who understand Art : whereas the
peculiarity of our present course of education has brought round
the view, that the judgment on a thing must come from a quite
different domain to that of the thing itself; forsooth, from the
“absolute Vernunft” or mayhap from the “self-thinking Thought.”
The analogy has been derived from our modern State, whose
political evolution has brought this curiosity with it, that a statesman
has to justify his success in the eyes of those who before had
never dreamt of its possibility, and to submit his measures to the
judgment of those to whom it must be made clear for the first
time, on such occasions, what the whole matter is about. As in
our case, it is a matter of Music, about which every one has his
own impression, often the most trivial the writer Gutzkow,
indeed (since the time when the art-historian Liibke appears to
have thoroughly ruined his phantasy) for the most part a quite
unseemly one must perceive at once that there can be really no
question viz. judgment on the part of those who do not understand
Art ; and one must either strike Music completely off the
list of arts, or admit that it first becomes an art by the very fact
of its being dealt with in artistic fashion by those alone who
understand music.
Often was it painful to myself, and often bitterness, to have to
write about my art, when I would so gladly have listened to others
on it. When finally I accustomed myself to this necessity, because
I learnt to comprehend why others could not say the thing that
was given to just me to say, neither could it but in time grow
ever clearer to me, that in the insights which had been opened up
to me by my own art-doings there dwelt a wider meaning than is
to be ascribed to a merely problematic-seeming artistic individuality.
Upon this path I have come to the view that the real
question concerns an entire re-birth of Art, which we now know
only as a shadow of its genuine self; since it has quite deserted
actual Life, and is only to be discovered in a scanty stock of
popular remains.
Whoever will permit himself to be led by the hand of one who
has become clear upon this point not on the path of abstract
speculation, but guided by the impulse of direct artistic Need,
to be led to a hopeful outlook upon the possibilities reserved for
the German spirit, I trust will not be vexed to wander with
me over the path on which I reached that outlook. For his
assistance, I have placed my writings of every kind so together
that he can follow me on every side of my development. He will
thus perceive that he has not to do with the collected-works of a
Scribe, but with a record of the life-activity of an Artist who,
disregarding schema, sought in his art itself for Life.
But this Life is naught else than the essence of true Music, in
which I recognise the only real art of the Present, as of the Future;
for it alone will give us back again the laws for a genuine wider
Art. So is it ; and every one must recognise this fact with me,
so soon as ever he compares the effect upon the souls of all, of
the only living power among us, Music, with that of our literaturepoesy
of nowadays, or of any of the plastic arts, which now can
only borrow foreign schemata, for parleying with our so deeply
sunken modern life. But in Drama glorified by Music, the Folk
will one day find itself and every art ennobled and embellished.
This as greeting to the friendly reader!
Artwork of the Future eBOOK
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Recent
- Crash Cultures – modernity, mediation and the material
- The Underside of Modernity – Enrique Dussel
- Transmodernism, Marxism and Social Change
- Gestalt Approaches to the Virtual Gesamtkunstwerk
- Artwork of the Future – Wagner
- The Posthuman Condition
- Gesamtkunstwerk: the fusion of all the arts in one work.
- Structuring Knowledge
- "Synthetic Pleasures" Techno-Revolution or Just Another Dystopia?
- Art & Happiness
- Hyperreality of Jean Bauldrillard
- Brave New World
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