Endangering science fiction film

Endangering Science Fiction Film explores the ways in which science fiction film is a dangerous and endangering genre. The collection argues that science fiction's cinematic power rests in its ability to imagine ‘Other’ worlds that challenge and disturb the lived conditions of the ‘real’ world, as it is presently known to us. From classic films such as 2001: A Space Odyssey and Solaris to modern blockbusters including World War Z and Gravity, and directors from David Cronenberg to Alfonso Cuarón, contributors comment on the way science fiction film engages with dangerous encounters, liminal experiences, sublime aesthetics, and untethers space and time to question the very nature of human existence. With the analysis of a diverse range of films from Europe, Asia, North and South America, Endangering Science Fiction Film offers a uniquely interdisciplinary view of the evolving and dangerous sentiments and sensibility of this genre.

We are in danger

Genre films are constructed out of narrative patterns and plot points that involve or are predicted on crisis, on danger. This is the logic of much if not all mainstream genre cinema: drama has to take place for there to be a story to be told, and for pleasure and identification to be arrested and enthused. Forms of threatening disequilibrium can be personal, domestic, familial, local, external, supernatural and murderous; a way of life can be threatened as well as life itself. There are ideological dimensions at play; the crisis threatens to destabilize patriarchy, heterosexuality, social norms and expectations. Feelings and modes of affect are set in dangerous motion as the crisis unfolds. Trouble may emerge from a wayward or transgressive family member, or it may arrive in town on horses, stagecoaches, trains, cars, spaceships, and on the wind and in the water. The main (and minor) characters in the film are at the center of this storm, and that places viewers at the epicenter of the danger, also. The genre film places us all in danger. The genre film, then, has phenomenal, phenomenological and bio-political potential as a site of cognitive, ideological and carnal endangerment.

Brutalism, metabolism and its American parallel : encounters in Skopje and in the architecture of Georgi Konstantinovski

Abstract Massive, raw concrete structures – the likes of the Telecommunications Building (1972–81) by Janko Konstantinov; the campus of Ss. Cyril and Methodius University (1974) by Marko Musˇicˇ; the National Hydraulic Institute (1972) by Krsto Todorovski; and the Bank Complex (1970) by R. Lalovik and O. Papesˇ – have led to the production of an enduring monumental presence and helped inspire Skopje’s title as the “Brutalist capital of the world”. These works followed Kenzo Tange’s introduction of Japanese Metabolism to Skopje through his role in the 1965 United Nations sponsored reconstruction competition. The unique position of a Non-Aligned Yugoslavia staged and facilitated architectural and professional exchange during the Cold War. Each trajectory and manifestation illustrates the complex picture of international architectural exchange and local production. Skopje and its numerous Brutalist edifices is an elucidative story, because it represents a meeting point between Brutalism, Metabolism and its American parallel. This article discusses, in particular, the Skopje Archive Building (1966) and the “Goce Delcˇev” Student Dormitory (1969) – two buildings designed by the architect Georgi Konstantinovski, realised on his return from a Masters program at Yale University and employment within I. M. Pei’s New York office. Their architecture illustrates the simultaneous preoccupations of leading architects at the time in regaining a conceptual ground made explicit through a complete and apprehensible image. From this particular position, the article explores the question of ethics and aesthetics central to Banham’s outline of the “New Brutalism”.

O Sublime Nanotecnológico

The nano convergence is a historic event, similar to the advent of cyberspace, which has equal potential disruption. As well as the aesthetics of communication Mario Costa has a technological sublime mediated through imaging techniques, we propose in this work the emergence of an aesthetic of nanocomunicasio, which, in turn, proposes a nanotechnological sublime mediated through technological individuation. While the technological sublime Mario Costa is entirely based on the Kantian sublime, the sublime nanotechnology is inspired by the sublime transimanente Schopenhauer. If the technological sublime Mario Costa is connected to virtuality and reproducibility of digital imaging techniques, we have the sublime nanotechnology refers instead to the materiality and autorreprodutibilidade the principle of individuation.

The passion plays of celebrity culture

If there is a cultural arena today where passion plays a central and heightened role, then it is in the affecting and textural operations of celebrity. Celebrity representations are crafted out of passionate aesthetic signifiers and impassioned pleas to the senses, to the emotions and to the exaggerations of feeling that the consumer or fan is asked to register and then fully embody. Celebrity culture attempts to turn one into a passionate creature, ruled by the heart, lost in a sea of desires and desiring wants and needs, as the adoring figure that moves us, moves intimately before us. Such passions can and do go unrequited, of course; some are resisted and rejected, and some celebrity passions register as fully carnal and liberating encounters. That is to say, the plays of celebrity passion serve (hetero) normative and policed accounts of feeling and belonging in the world, fuel a desire for commodity objects and material possessions, and yet also open up the possibility for engagements that are violent, liberal and unregulated. In this article, I will explore the ways in which celebrity culture engages with passion and through the idea of it involving a modern form of the passion play. Following Lauren Berlant, I will argue that the passion ignited by the celebrity works to contain and regulate desire, and yet also offers up the opportunity for sensorial engagements that violate and resist the normative terms of desiring. I will suggest celebrity figures are themselves caught up in this passion play, suffering and feeling deeply at the same time, while channelling this violent crisis to their fans as they do so. Finally, I will write the article passionately, from an impassioned perspective, measuring and weighting my own desires in the contradictions and tensions of passion as they emerge in the body of the writer before you. This article is part of a themed issue entitled ‘Passion’.

A qualitative study of environmental factors important for physical activity in rural adults

PURPOSE: Despite increasing evidence that the physical environment impacts on physical activity among urban-dwellers, little attention has been devoted to understanding this relationship in rural populations. Work in this area is further hindered by a lack of environmental measures specifically designed for rural settings. This qualitative study aimed to explore the salience of urban physical activity environment constructs among rural adults. METHODS: In 2011, 49 rural men and women from three distinct areas (coastal, animal-based farming, forestry/plant-based farming) of rural Tasmania, Australia, were purposively recruited to participate in semi-structured interviews. Interviews explored features of the built and social environment commonly examined in studies of urban adults, including functional characteristics (eg, lighting, footpaths, roads/verges), road and personal safety, availability and accessibility of places to be active, destinations, and aesthetics. Interviews were recorded, transcribed verbatim and analysed using a content-thematic approach using QSR NVivo software. FINDINGS: While some urban environmental constructs were salient to these rural adults, such as availability of and accessibility to places to be active, some constructs were operationalised differently, such as road safety (where large trucks and winding roads rather than traffic density was of concern), or were not considered relevant (eg, personal safety related to crime, availability of walkable destinations, aesthetics). CONCLUSIONS: The measurement of the physical environment in rural populations may require reconsideration and/or modification to ensure salience and appropriate quantification of associations with physical activity in future studies.

Sensing celebrities

Sensing celebrities involves recognition of the way complementary sensory-based elements come together to create, produce and transmit levels of affect and intensities. This chapter explores celebrity through the lens of sensory aesthetics. It begins by defining sensory aesthetics, linking it to the phenomenology of celebrity, and particularly the work of Vivian Sobchack and Laura U. Marks. The chapter draws upon the unique concept of the celebaesthetic subject to address the intersubjective relationship between fan and celebrity. Using Miley Cyrus as a case study, the chapter draws into the analysis the issue of gender and race, and the way conductive “skin” can be made to function as a sensory stereotype. It highlights that mobilization of the celebrity senses touched by transgression may be best understood to take place through the confession, and in the celebrity carnival.