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There were 6 results from your search for keyword(s): 'Impact'.

  1. The Good Terrorist is an exemplary novel about terrorism. Factually inaccurate or at least radically selective about its facts, despairing about public action, reactionary in its implied politics of quietism and complicity with power, the novel faithfully follows its more prestigious models -- Demons, The Secret Agent, The Princess Casamassima...Yet the novel's meaning does not really depend on its accuracy about the IRA or contemporary terrorism, about which it in fact seems to care very little. What attracts the novelist to her subject is a fascination with the inaudibility of personal voices, with the fragility of printed books in a world where the electronic media accent our speech and feed our violence.

    Source: Plotting Terror, p. 90-91
  2. Corporate anti-capitalism wouldn't matter if it could be differentiated from an authentic anti-capitalist movement. Yet, even before its momentum was stalled by the September 11th attacks on the World Trade Center, the so-called anti-capitalist movement seemed also to have conceded too much to capitalist realism. Since it was unable to posit a coherent alternative political-economic model to capitalism, the suspicion was that the actual aim was not to replace capitalism but to mitigate its worst excesses; and, since the form of its activities tended to be the staging of protests rather than political organization, there was a sense that the anti-capitalism movement consisted of making a series of hysterical demands which it didn't expect to be met. Protests have formed a kind of carnivalesque background noise to capitalist realism, and the anti-capitalist protests share rather too much with hyper-corporate events like 2005's Live 8, with their exorbitant demands that politicians legislate away poverty.

    Source: Capitalist Realism, p. 14
  3. Hugo Ball's poem, by deflecting meaning, accumulated speculative-interpretive force, like a Rorschach blot. Dada -- European, coloristic, prone to manifestoes and provocation, to sneering at history -- made a fair bedfellow for punk. The song claimed a precursor in Dada's guttural and spasmodic presentation, and its freedom from conventional logic, but also its tendency to the regimented and doctrinaire. Hugo Ball's drill-sargeanty nonsense, and the immobile geometric armor he wore while presenting it onstage: these both satirized the human impulse to control human impulses, and exemplified the discipline needed to make that kind of artwork.

    Source: Fear of Music, p. 6
  4. In refusing the mantle of humanism, surrealism opened itself to the discomfiting possibility that its work would be overshadowed by the allure of terrorist action or of political expediency. Yet as the group's long-standing fascination with crime reveals, the movement was dedicated less to destroying al laws than to thwarting the tendency for experimental thought to become law. The surrealist experiment, then, might be understood as the attempt to mobilize art to "suppress the exploitation of man by man" by causing an insurrection within thought. Herein lies surrealism's essential contribution to twentieth-century thought: not, as Jean Clair claimed, in "preparing the mind" for the atrocities of terrorism and the Holocaust, but in preparing the mind to defend itself against the forms of ideological closure that ensure the continuation of such atrocities.

    Source: Surrealism and the Art of Crime, p. 276
  5. In some respects the Anti-Poetry Club could be considered the last bow of Maywood Rhapsodism, but it was also the nucleus from which the Rebel Worker group soon emerged. The Club was a souped-up Chicago-style mix of surrealism, Bugs Bunny, the Marx Brothers, Ernie Kovacs, Stan Freberg, and Bob Kaufman's Abomunism, but so heavily spiced with our own humor and revolt that it had a distinctive "flavor" all its own...

    After a few meetings, however, it was clear that the Club had nowhere to go--that every meeting would be the same, that the Anti-Poetry Club was getting to be as boring as the Poetry Club...Several of us circulated a statement dissociating ourselves from those who had turned the Club into a repetitious farce devoid of even the slightest subversive quality.

    Source: Dancin' in the Streets, p. 16
  6. Such fleeting and occult demonstrations did not enjoy a wide resonance. And yet Rhapsodism had ways of making its subversive presence felt.

    Source: Dancin' in the Streets, p. 11