In Parables for the Virtual Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple. Parables for the virtual: movement, affect, sensation I Brian Massumi. p. cm.-(Post -contemporary intervcntions) lncludcs bibliographical refcrcnces and indcx.
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Parables for the Virtual: Movement, Affect, Sensation by Brian Massumi.
Press, Durham, NC, U. Drifting through and I recommend drifting rather than focusing intently—it makes for a more productive read Brian Massumi’s Parables for the Virtual: Movement, Affect, SensationI became excited by finding a new voice that has great potential for cinema studies my own area of research and theoretical discourses in the humanities in general.
This is pxrables an easy read, but it is a challenging one that forces the reader to think actively about the usefulness of interpretive language.
Massumi presents the reader with a flexible, malleable approach that invites a multifarious and creative method of interpretation. The aim of the book, states Massumi, is to consider the body and its capacity for movement and sensation in writings of cultural theory.
Additionally, the state of affect is a crucial one. Influenced by the work of Gilles Deleuze, he sets himself the task of exploring the possibility that movement, affect and sensation “might be culturally-theoretically thinkable” p. Rather than seeking to be oppositional to traditions of post-structuralism and cultural studies, he intends, instead, to build on this body of work by also traveling theoretical and critical journeys biran new directions that, above all, consider affect and the corporeal in their analysis.
Massumi’s concern reflects the frustration of many academics in the humanities. We have inherited theoretical models that are stubborn, single-minded and monolithic in their attitude, often tending brjan homogenize the object of their study.
Owing a great deal to the model of semiotics emerging in the s and s via interpretations of Ferdinand Saussure’s writingsthe theoretical paradigms that followed—whether structuralist, psychoanalytic, feminist, ideological and so on—highlighted the mechanism of “mediation.
In their search for the discovery of the Holy Grail of virtuzl paradigms, cultural theorists sought to reduce the cultural process and the body that occupies and moves, breathes and lives within that cultural process to models parzbles attempted to function like mathematical equations. As Massumi points out, however, society and humanity are far more complex creatures.
In following this line of discourse, theorists led the coming generation of humanities students on a grand parade—one that ended up at a dead-end street. Given its emphasis on interpellation, cultural theory has allowed little scope for “modest acts of resistance or subversion” p.
The door to rupture or revolt—states that many theorists craved—became firmly closed as a result of their own doing. In seeking to bring matter and the body, sensation mxssumi affect back to interpretation, Massumi attempts to find such ruptures—no matter how minuscule.
New, fresh approaches are in order because “critical thinking disavows its own inventiveness as much as possible” p. But, rather than debunking and critiquing these traditions, instead, Massumi seeks alternate affirmative paths that are more productive—models that can build on the work of the past and inject new life to massymi achievements already attained.
Brian Massumi – Wikipedia
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