On "the importance of listening to black rage and valuing its political, social, and artistic potential."
"My family visited Auschwitz for Christmas that year. It seemed only fitting, for a masochistically-sympathetic group such as ourselves to relive the trauma of our ancestors, specifically, my father’s parents, on such a celebratory occasion."
"For many Americans, the technological leaps made during the Cold War have become synonymous with the Space Race. But an almost forgotten effort involved collaborations from around the globe."
A look at memory and representation after World War II, in Alain Resnais’ Night and Fog and W.G. Sebald's Natural History of Destruction.
"There isn’t much relevant about the island, other than it was a mass of concrete and metal. It could have been Tokyo, Alcatraz, or even Los Angeles, and not much would change. It was an island, close to the water, but blooming with unnatural creation. It was difficult to grapple with."
“It is from the beginnings of Western society that we can observe a scathing remark can go unpunished so long as it is accompanied by a joke.” On Molière, satire, and power.
"Imagine a near-future, post-singularity world where it is possible to download consciousness into new forms."
"The differences between drag and cross-dressing-as-disguise can be recognized through a deepened understanding of comedic theory."
"[H]uman interaction is essential, but unavoidably fails due to the tremendous barrier that language and death pose to the individual." On Beckett's Murphy.
"Does it stand that photography is a legitimate form of visual art?" An exploration of the photograph and its varied applications.
"Grand generalizations about the nature of popular music have limited our conversations to its cultural appeal and not its genuine, artistic qualities." An appeal.