Rogueish

Fredric Jameson - Berkeley Avenali Lecture Series

02/25/12

“The Aesthetics of Singularity”
Tuesday, February 28, 2012 
6 p.m. | International House, Chevron Auditorium

Follow-up Panel Discussion with Fredric Jameson
Wednesday, February 29, 2012 
12–2 p.m. | Maude Fife Room, 315 Wheeler Hall

Panel Discussants: Whitney Davis (History of Art), Martin Jay (History), and Colleen Lye (English)
Moderator: Robert Kaufman (Comparative Literature)

FAO Bay Area theory people (Jameson is also going to be discussing an extract from his forthcoming book on realism on Monday).

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Ke$ha vs the Beatles

10/12/11

imathers:

thediscography:

screwrocknroll:

(tl;dr: I’m far more committed to the idea that Ke$ha can be better than the Beatles than I am to the idea that she is.)

Precisely.

J-Breezy is just killing it today. (Emphais mine; I like the Beatles, and I certainly like them more than Ke$ha, but that’s not the point.)

I’m always surprised when people have opinions about the Beatles, I really can’t imagine what that’s like. The band always seemed to me to be like gravity or the speed of light or something - an important building block of the universe, but not something you could have any kind of individual aesthetic response to.

(Source: katherinestasaph)

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10/06/11

imathers:

dauthan:

I would like to block quote the third and last paragraphs of this Chronicle piece on passive voice…

…especially for the only instructor I’ve ever had who actually made us run the numbers on how frequently we used the passive voice in our work.

Every single fucking editor and writer in the Western world should be forced to read this, and Pullum’s (linked) takedown of the odiously overused Strunk & White. Every single one.

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Soul Music — The American, A Magazine of Ideas

03/09/10

I have something of a soft spot for Roger Scruton, as he’s one of the few analytic writers on aesthetics who actually discusses the aesthetic qualities of artworks. But this attempt to criticize pop music is an extraordinary example of building a detailed aesthetic argument on a fundamental misapprehension of its object (via Ian Mathers).

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