Arrow of chaos : romanticism and postmodernity by Ira Livingston

By Ira Livingston

Via modeling how you can imagine via chaos and during the mutual deformations of Romanticism and postmodernity, Arrow of Chaos contributes to substitute alignments of data throughout time and technique.

summary: via modeling how you can imagine via chaos and during the mutual deformations of Romanticism and postmodernity, Arrow of Chaos contributes to replacement alignments of data throughout time and approach

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Example text

What is liminal or marginal in one sector may not be in another, but even where it is liminal, it possesses a kind of power to define, a kind of centrality. Once we take the first step away from the regime of truth to consider the centrality of marginality, how can we stop? Must we then proceed into an endless morass of unwieldy paradoxes? Would this infinite exercise render the distinction between center and margins meaningless — or extend its hegemony everywhere? " To look into this face, a familiar example of disciplinary structure will serve nicely.

Should characterize the change? This process (Derrida called it "a rupture and a redoubling" [1978, 278]) produces another kind of change, or to take it out of a productivist model (itself part of the j'-mode in the two-stage Romantic equation), it disturbs the tf-ness of x, the j/-ness ofy, and their relation; that is, it alters the order of time structured around the relation. Metachange is metastible, capable of infecting and altering a range of both synchronic and diachronic relations. But how could we assert that in Romanticism change became significant, mandatory, or valued as it never had been before, when, merely by selecting the status of change as a significant feature, we participate in a valorization of change that we were meant to describe?

Several floors of cells are laid out in a circular building; the cells open onto a central, circular courtyard, so that each cell is visible from the guard tower that stands at the center of the courtyard. The design maximizes the efficiency of surveillance and control since a single guard can oversee each cell; the tower need not even be occupied continuously if prisoners cannot see into it. Prisoners are at each moment located and individuated in this "antinomadic" regime of hypervisibility. Most diagrammatically, the panopticon works by intensifying and problematizing the inferiority of the watchtower to the cells of the prison, since watching can otherwise take place only from "outside" or "above"; that is, embeddedness is otherwise inimical to the perspective required for watching.

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