Attack of the creationist reverberators! Or: the end of the world (as we know it)

This special issue of Popular Communication examines the impact of the global financial crisis and recession on differnt aspects of global and regional media and the cultural industries, changing practices of media production, as well as media consumption, and the interplay of economic challenges and technological change.

The End of the World Wide Web

Nothing lasts forever. The World Wide Web was an essential part of life for much of humantiy in the early 21st century, but these days few people even remember that it existed. Members of the Web Science research group will present several possible scenarios for how the Web, as we know it, could cease to be. This will be followed by an open discussion about the future we want for the Web and what Web Science should be doing today to help make that future happen, or at least avoid some of the bad ones.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Stranger in a Strange Land: The struggle for cultural and personal identity in Haruki Murakami's Hard-Boiled Wonderland and the End of the World

In order to explicate Murakami's version of the official culture, I have analyzed the novel with the works of several different theorists. Primarily, I drew my own understanding of the official culture from Raymond Williams's examination of culture in Marxism and Literature. His terminology became helpful in writing about the operation of the System and the Town, though it did not define that operation precisely. Williams's work also introduced me to the theory behind the official culture's manipulation and exclusion of historical aspects in order to create their "official" version of history, from which the official culture draws its identity. For further analysis of the treatment of history, I turned to Friedrich Nietzsche's On the Advantage and Disadvantage of History for Life. Though it examines the official culture's manipulation of history in a much more in-depth manner, it seems to have influenced Murakami's treatment of individual memories and cultural histories. For instance, the herd ofunicoms in the End of the World resembles Nietzsche's description of the ''unhistorical herd," or has the potential to resemble it. With these theories I was able to access the mechanisms of cultural control that Murakami depicts in the form of the System and the Town, and from there I was able to develop a model for how the narrator struggles to subvert that control. Both sides of that struggle are depicted and re-imagined many times throughout Hard-Boiled Wonderland and the End of the World.

Curtain call - end of the world party

BLINDSIDE’s project presented as part of our 'Curtain Call' curated event series, brings together artists who tease out notions of catastrophe, celebration and transformation against the backdrop of the last party on earth.
The 5,125 year Mayan Calendar comes to an end on the 21st of December and BLINDSIDE has invited artists to consider this cataclysmic event for its annual program Curtain Call.

Fresh from the LA Art Fair, Adelaide-based artist Patrick Rees along with Melbourne-based artists Kirsty Audrey Hulm, Boe-Lin Bastian, Drew Pettifer and Joel Zika & Simon Pericich consider the possibilities.

The theory of William Miller : concerning the end of the world in 1843, utterly exploded ; with some other essays on the same subject.

Mode of access: Internet.

Our Lord's great prophecy, and its parallels throughout the Bible, harmonized and expounded : comprising a review of the common figurative theories of interpretation. With a particular examination of the principal passages relating to the second coming of Christ, the end of the world, the new creation, the millennium, the resurrection, the judgment, the conversion and restoration of the Jews, and a synopsis of Josephus' History of the Jewish war /

Mode of access: Internet.

Apocalyptic Discourse in Contemporary Culture: Post-Millennial Perspectives of the End of the World

This interdisciplinary collection of essays focuses on critical and theoretical responses to the apocalypse of the late twentieth- and early twenty-first-century cultural production. Examining the ways in which apocalyptic discourses have had an impact on how we read the world���s globalised space, the traumatic burden of history, and the mutual relationship between language and eschatological belief, fifteen original essays by a group of internationally established and emerging critics reflect on the apocalypse, its past tradition, pervasive present and future legacy. The collection seeks to offer a new reading of the apocalypse, understood as a complex – and, frequently, paradoxical – paradigm of (contemporary) Western culture. The majority of published collections on the subject have been published prior to the year 2000 and, in their majority of cases, locate the apocalypse in the future and envision it as something imminent. This collection offers a post-millennial perspective that perceives "the end" as immanent and, simultaneously, rooted in the past tradition.

The approaching end of the age viewed in the light of history, prophecy, and science.

"Authors consulted in the preparation of this work": p. [673]-691.